f  LIBRARY    I 

I     UNIVERSITY  Of    J 


MAGIC 


UP   TO    DATE. 


-OR- 


SHAW'S  MAGICAL   INSTRUCTOR. 


-BY- 


W.  H.  J.  SHAW, 


PRICE,  S1.0Q 


PREFACE. 


In  presenting  this  little  volume  to  my  readers,  I  trust 
that  it  will  meet  with  their  approval.  While  neither  profundity 
of  matter,  nor  perfection  of  style  is  aimed  at,  it  is  written  in 
e very-day  language,  and  a  careful  perusal  of  the  following  pages 
may  both  interest  and  be  of  value  to  my  readers. 

Bespectfully, 

W.  H.  J.  SHAW. 
Chicago,  III. 


LOAN  STACK 


GIFT 


SHAW'S  MAGICAL  INSTRUCTOR. 


THE  MYSTIC  PERCOLATOR:- 

A  two  gallon  size  glass  percolator  is  used  for  this  beautiful 
experiment.  The  percolator  is  shown  to  company  perfectly  empty, 
It  is  then  covered  with  a  shallow  silver  cover  and  given  to  a  lady  or 
gentleman  to  hold.  A  large  silk  handkerchief  is  thrown  over  it,  to 
exclude  the  light.  Performer  now  empties  a  cornucopia  of  paper 
roses  which  were  produced  mysteriously  a  few  moments  before  into 
his  blunderbuss  "bang"  goes  the  pistol  which  performer  hands  to 
assistant.  He  then  steps  forward  and  removes  the  handkerchief 
and  shows  percolator  full  of  beautiful  flowers. 

Flowers  were  concealed  inside  the  silver  lid  of  percolator 
which  is  made  on  the  same  principal  as  the  "Coin  Cork"  so  that  on 
pressing  a  small  projecting  pin  on  top  of  cover,  the  trap  door  in  bot- 
tom of  lid  gives  way  and  releases  the  contents  and  is  again  closed 
by  a  spiral  spring  inside  of  cover.  This  is  a  wonderfully  effective 
trick. 

WATER  INTO  ICE:^ 

A  square  tin  box  is  brought  on  the  stage  and  placed  on  a  frame 
The  box  is  shown  empty  and  remains  on  the  frame  during  the  en- 
tire experiment.  The  box  is  now  filled  with  water  and  covered 
with  a  thin  cover.  A  candle  is  placed  underneath  the  box  for  a  few 
moments,  the  cover  is  removed  and  instead  of  the  water  is  a  large 
cake  of  ice,  nearly  filling  the  box.  In  the  centre  of  the  cake  of  ice 
are  seen  previously  borrowed  articles  and  the  ice  has  to  be  broken 
to  get  them  out.  Explanations— The  box  is  on  the  principal  of  the 
Inexhaustibal  Box  i.  e.  it  has  two  bottoms  and  contains  the  cake  of 
ice  when  brought  on.  Tip  the  box  towards  the  company  and  show 
empty,  tip  in  the  opposite  direction  and  show  the  bottom  solid  etc. 
The  water  runs  down  side  of  ice  through  the  legs  and  into  the  dou- 
ble bottom  of  frame.  There  are  two  holes  in  the  real  bottom  of 
the  box  for  the  water  to  pass  through  and  these  are  concealed  by 
the  fingers  when  the  box  is  tipped  forward.  Have  a  fake  pail  with 
a  false  bottom  near  the  top.  The  cake  of  ice  must  not  entirely  fill 
the  box  as  it  could  not  be  tipped  forward  then.  The  right  size  is 
best  accertained  by  trial.  To  find  articles  in  centre  of  ice  have  it 
sawed  through,  make  a  hollow  space  in  it,  then  put  in  the  articles 
and  unite  the  two  halves  by  spreading  salt  on  the  surface  where 
cut. 
THE  NATIONAL  BALL  TRANSFORMATION:- 

A  solid  blue  ball  covered  with  gold  stars  is  given  to  the  au- 
dience for  examination  and  is  found  to  be  made  of  wood  and  free 


710 


SHAW  S  MAGICAL  INSTRUCTOR. 


from  preparation.    After  it  is  returned  the  performer  rubs  it  be- 
tween his  palms  and  it  changes  to  an  orange. 

Explanation— The  ball  you  give  is  made  of  hard  wood  painted 
blue  and  decorated  with  gold  stars  in  imitation  of  the  national 
flag.  Underneath  your  vest  you  have  another  ball  made  as  follows: 
procure  an  orange  a  trifle  smaller  than  the  wooden  ball,  wind  the 
orange  lightly  with  blue  yarn  and  paste  on  some  stars  made  of  gilt 
paper.  After  having  given  the  wooden  ball  for  examination  and 
while  returning  to  the  stage  you  vest  it  and  produce  the  prepared 
one.  Now  all  you  have  to  do  is  to  work  off  the  yarn  under  cover  of 
the  hands,  then  palm  the  yarn  and  exhibit  the  orange. 

NEW  SPIRIT  GHOST  SEANCE:- 

This  is  one  of  the  finest  seance  of  its  kind  ever  introduced. 
I  will  bring  effect  and  explanation  together.  The  medium  is  tied 
to  a  chair,  and  the  assistant  lifts  him  into  the  cabinet,  (when  se- 
cond back  of  cabinet  is  in  its  place,)  between  the  two  backs  of  ca- 
binet is  a  natural  skeleton  painted  luminous;  the  head  and  arms  of 
skeleton  can  easily  be  detached  and  attached  at  pleasure.  The 
medium  releases  himself  from  the  chair  and  takes  off  the  arms  and 
pushes  them  through  the  openings  of  curtains  and  lets  them  float 
high  above  the  cabinet,  by  using  a  reaching  red.  To  the  end  of 
this  apparatus  is  fastened  an  arm  and  medium  waves  it  high  in 
the  air,  at  last  a  grinning  skull  shows  itself  through  the  opening  of 
curtain,  only  to  vanish  again,  finally  a  whole  skeleton  steps  out  of 
the  cabinet  and  walks  about  the  stage,  moving  arms  and  legs,  at 
last  it  goes  back  into  canopy;  lights  turned  up  and  medium  found 
in  a  trance,  knots  undisturbed.  This  last  effect  is  managed  by  the 
medium  taking  the  loose  back  ground  and  throwing  it  over  himself, 
he  then  removes  his  shoes  and  with  a  strap  buckles  the  skeleton  to 
himself.  The  spinal  column  of  skeleton  is  strengthened  by  a  thin 
iron  rod,  the  medium  then  puts  his  feet  into  half  slippers,  fastened 
to  the  skeletons  feet,  he  then  grasps  the  wrists  of  the  skeleton 
with  his  hands  and  walks  out  of  the  cabinet  and  around  the  stage, 
never  turning  his  back  to  the  audience,  and  walks  backwards  into 
the  cabinet  again.  To  the  eyes  of  the  audience  the  medium  is  ab- 
solutely invisible,  being  covered  with  the  black  back  ground.  After 
the  medium  returns  he  puts  skeleton  and  back  ground  in  their  re 
spective  places  again,  raps  and  simulates  a  trance.  This  has  a 
most  wonderful  vivid  uncanny  effect  upon  the  audience. 

SPIRIT  BELL  ON  GLASS  Top  Table.  For  answering  questions, 
etc.     There  are  two  bells  used,  one  is  concealed  underneath  the  up- 


SHAW'S  MAGICAL  INSTRUCTOR. 


per  end  of  the  run  down  which  is  raised  by  a  block  of  wood  high 
enough  tc  admit  the  bell.  This  bell  has  a  strong  cord  fastened  to 
the  clapper  in  such  a  way  that  when  it  is  pulled  it  rings,  the  clap- 
per falls  back  of  its  own  weight,  the  cord  runs  off  to  an  assistant. 
The  skeleton  stand  can  be  of  any  style  you  wish.  You  pass  it  for 
examination,  then  place  it  on  the  run  down  next  to  the  stage,  al- 
most over  the  concealed  bell.  You  now  pass  an  ordinary  call  bell 
for  examination,  when  returned  you  place  it  on  the  stand,  com- 
mand it  to  ring,  the  assistant  pulls  the  string  and  bell  rings.  To 
the  audience  it  appears  to  be  the  bell  they  have  examined.  The 
addition  of  glass  makes  no  difference  but  increases  the  effect.  To 
tell  the  name  of  cards  they  must  be  forced.  The  drapery  on  run 
down  must  be  very  thin  so  as  not  to  interfere  with  the  sound  of 
bell. 

THE  SPIRITUAL  KING  TE^T:- 

A  ring  five  inches  in  diameter  is  passed  for  examination.  A 
gentleman  is  chosen  by  audience  to  assist  performer  who  proceeds 
to  blindfold  him  by  placing  a  small  sack  over  his  head.  In  center 
of  stage  is  a  small  curtain  three  feet  square,  hanging  about  three 
feet  above  the  floor.  Performer  and  gentleman  now  join  left  hands 
same  as  shaking  hands;  instruct  gentleman  to  hold  tight,  you  then 
stand  close  behind  the  curtain  so  that  left  arms  are  not  seen  by  au- 
dience. A  boy  now  brings  the  ring  to  you,  when  you  take  it  with 
right  hand  and  instantly  pass  ring  around  gentleman's  left  wrist, 
still  holding  fast,  walk  to  front  of  stage  so  audience  can  see.  It  is  a 
very  excellent  trick,  takes  well  if  some  responsible  man  is  chosen  to 
assist  you;  [this  is  important],  as  audience  will  naturally  think 
the  assistant  lets  go  of  your  hand  unless  a  person  is  selected  whose 
word  is  beyond  dispute.  Secret:-Have  two  rings  alike  previous  to 
introducing  trick;  place  one  ring  around  your  left  wrist  concealed 
under  coat  sleeve.  The  curtain  is  made  of  heavy  cloth  with  a  ring 
at  each  upper  corner  to  hang  by.  Curtain  is  made  double  being 
open  st  bottom,  the  back  part  a  little  the  shortest.  In  center  be- 
tween curtain  have  a  hook  covered  with  cotton,  now  all  you  have 
to  do  is  to  take  ring  from  boy,  pass  it  up  between  the  curtain  and 
hang  it  on  hook,  then  rub  your  hand  up  and  down  gentleman's  arm 
and  slip  ring  over  his  arm. 

THE  EXTINGUISHED  CIGAR:- 

Performer  takes  any  cigar  while  blazing  hot  and  instantly 
puts  out  the  light  by  dabbing  it  on  his  tongue  a  few  times.  This 
trick  may  be  performed  without  preparing  the  mouth  in  any  way 


SHAW'S  MAGICAL  INSTRUCTOR. 


by  simply  causing  sufficient  saliva  to  flow  towards  the  cigar  thus 
extinguishing  the  light  upon  tongue.  If  fear  is  entertained  in  re- 
gards to  its  burning  the  tongue,  simply  suck  a  piece  of  lump  "Borax" 
in  the  mouth  for  a  moment  and  you  can  then  lick  the  burning  end 
of  a  cigar  with  impunity.     It  looks  very  heroic. 

THE  CHARMED  ORGAN  PIPES:- 

A  plain  board  which  may  be  examined,  is  supported  on  two 
chairs.  Six  large  cylinders  of  polished  metal,  numbered  respective- 
ly 1  to  6  are  shown.  Each  cylinder  is  slightly  smaller  than  the 
other,  so  that  No.  2  will  pass  through  No.  1,  and  3  through  No.  2, 
and  so  on.  Performer  commences  by  taking  up  No.  1,  holds  it  so 
that  audience  can  see  it  is  quite  empty;  he  stands  it  on  the  board 
and  drops  No.  2,  down  through  it  proving  that  there  is  nothing  in- 
side. He  next  proceeds  to  pass  No.  3  through  No.  2  and  so  forth 
till  all  the  tubes  have  been  proved  empty  and  are  standing  side  by 
side  on  the  board,  like  pipes  of  huge  organ. 

Performer  bares  his  arms  and  takes  from  No.  1  a  table  cloth 
which  he  spreads  upon  a  table,  then  four  napkins,  four  pair  of 
knives  and  forks  and  three  dishes;  from  No.  2  he  extracts  a  roast 
chicken,  from  the  next  one  a  bottle  of  wine  and  glasses,  and  from 
each  succeeding  tube  he  brings  forth  different  viands  which  are  all 
spread  upon  the  table,  thus  producing  a  sumptuous  repast  for  four 
persons.    The  tubes  are  shown  quite  empty  again. 

ExPLANATioN:-There  are  five  buckets  made  of  light  tin,  each 
one  has  a  flange  at  the  top  which  holds  them  up  in  the  tube,  as  the 
flange  rests  on  top  of  the  tube.  The  buckets  are  filled  with  the  ar- 
ticles you  wish  to  produce.  Load  buckets  2-3-4-5  and  6,  leave  the 
big  bucket  1  empty;  all  being  ready  show  1  empty  and  set  it  down, 
pick  up  2,  and  drop  ii  down  through  1  and  lift  1  up,  leaving  2  on  the 
table,  (the  flange  on  the  bucket  catches  on  1);  the  load  is  now  in  1, 
and  2  is  empty.  Now  show  2  empty,  then  work  3  through  2,  in  same 
manner  and  so  on  until  all  the  tubes  have  been  shown  empty.  The 
loads  are  now  in  the  first  five  tubes,  if  you  wish  to  use  the  last  tube, 
palm  25  or  50  spring  flowers  and  when  you  show  tube  empty  throw 
flowers  in  and  shake  out. 

D'ALYINI'S  ALBUM  TRICK:- 

The  album  is  nothing  more  than  a  cardboard  box,  opening 
like  a  book.  In  one  side  of  the  album  is  a  trap,  (see  dotted  lines  on 
side  of  album  in  fig.  1,)  same  as  in  portfolio  trick.  In  table  top  is 
a  trap  corresponding  with  trap  in  album.  In  the  album  itself  have 
concealed  folding  cages,  folding  trunks,  bon  bon  boxes,  flowers,  etc. 


SHAW'S  MAGICAL  INSTRUCTOR. 


-r/A 

A 

>S 

. 

li 

Behind  "A"  fig.  1  of  table  is  concealed  a  spring  roller  as  long  as  table 
upon  which  is  sufficient  black  velvet  to  reach  from  the  fringe  to  flcor 

To  the  lower  edge  of  velvet 
shade  is  fastened  a  thread 
which  passes  through  a 
hole  in  floor  of  stage,  when 
thread  is  pulled  down  and 
velvet  shade  with  it;  the 
part  of  table  behind  front 
legs  are  hidden  from  view, 
several  feet  behind  this  ta- 
ble stands  a  large  table 
draped  to  the  floor  with 
velvet  also,  so  when  shade 
on  front  table  is  down  au- 
[Fig.  1.]  dience  imagine  they  see  se- 

cond table.  The  album  is  layed  on  table  with  trap  down  and  back 
of  album  toward  atidience,  so  when  opening  it,  audience  cannot  see 
into  it.  '  D'Alvini  placed  the  album  on  table  and  opened  cover,  and 
then  took  out  the  articles,  then  walking  away  from  album  he  would 
execute  his  fantastic  dance;  in  the  meantime  the  shade  was  pulled 
down  and  a  boy  dressed  as  a  dragon  came  up  behind  the  shade 
through  stage  trap,  table  and  album  trap,  and  out  of  album.  Eed 
fire  was  burning  in  the  album,  which  was  set  off  by  the  dragon. 

LIGHTNING,  SLATE  AND  BLACKBOARD  TEST:- 

Have  blackboard  and  common  slate,  also  a  piece  of  white 
chalk,  you  call  on  some  person  to  come  upon  the  stage  to  assist  you, 
gentleman  or  boy  will  do;  have  con  federate  i  n  front  seat  of  audience. 
Now  request  gentleman  to  write  on  the  blackboard  five  or  six  names 
any  names  he  likes,  placing  one  name  under  the  other  until  he  has, 
say,  five  names  down.  Now  request  him  to  write  one  of  these  names 
on  the  slate  but  to  be  sure  he  does  not  give  you  a  chance  to  see  it. 
When  he  has  done  so,  request  him  to  show  it  to  audience  and  then 
rub  it  out,  and  place  the  slate  downwards  on  the  floor  so  you  can 
not  see  what  was  on  it;  now  take  him  to  blackboard,  and  taking 
chalk  from  him,  take  his  left  hand  in  yours,  and  ask  him  to  look 
you  in  the  eye  a  moment  and  then  turning  to  blackboard,  cross  out 
with  chalk  the  name  he  wrote  on  slate,  then  proceed  with  numbers 
as  25-28-67-45,  etc.,  or  get  someone  else  to  come  up  and  do  it. 

Secret:-Ycu  understand  when  your  confederate  sees  what  is 
on  the  slate  he  gives  you  a  "sign,"  that  is  with  his  fingers  on  lapel 


() 


SHAW'S  MAGICAL  INSTRUCTOR:. 


of  coat,  or  looking  at  ceiling,  or  floor,  to  right  or  left,  rubs  his  hand, 
on  head  or  nose,  etc.,  or  whatever  signs  you  agree  upon.  This  does 
not  look  like  much  of  a  trick,  but  only  try  it  and  you  will  find  it  a 
''telling"  one. 

THE  EGYPTIAN  CREMATION:- 

The  principal  part  of  this  trick,  lays  in  the  table  X  X  X  X 
(Fig.  2.)  are  traps  in  top  of  table,  that  open  under  pressure,  and 
lock  same  as  all  traps  in  conjuring  tables.  The  top  of  table  is  cov- 
ered with  black  cloth  and  is  six  inches  deep,  and  closed  to  form  a 
box.  Inside  of  table  are  placed  dummy  shapes,  to  represent  the 
head  and  iimbs  of  person  to  be  decapitated;  these  shapes  are  secur- 
ed by  wires  to  retain  their  place  if  you  turn  table  over  in  showing 
it  to  audience.     The  next  important  apparatus  is  the  furnace. 


13> 


¥ 


[Fig.  2.] 
"A"  in  fig.  2,  is  the  fire  basket  which  is  very  shallow,  there  is  a 
wide  opening  behind  basket  which  runs  into  the  body  of  furnace; 
around  the  bottom  of  furnace  is  a  row  of  holes  to  admit  plenty  of 
air  to  the  interior,  so  whatever  may  be  dropped  inside  will  not  be- 
come hot  from  the  fire  in  fire  basket.  The  person  to  be  decapitated 
somes  forward,  and,  lays  on  the  table  in  position  upon  the  traps, 
performer  takes  a  piece  of  cloth  and  twists  it  around  subjects  arm, 
then  taking  a  knife  he  pretends  to  cut  off  subjects  arm,  undercover 
of  movement  performer  unlocks  the  arm  trap,  subject  forces  his 
arm  through  the  trap  and  the  performer  lifts  out  the  dummy  arm, 
(the  cloth  conceals  the  opening  of  trap,)  and  drops  it  into  the  fur- 
nace (back  of  basket);  the  same  movement  is  repeated  for  the  head 
and  remaining  limbs  which  are  also  placed  into  the  furrface.  Per- 
former now  pokes  up  the  fire  and  removes  some  ashes  and  drops 


SHAW'S  MAGICAL  INSTRUCTOR. 


them  into  a  gun  and  fires  at  the  table;  the  subject  jerks  up  his  head, 
leg  and  arm,  and  sits  up  on  the  table,  traps  closing  as  soon  as  limbs 
are  removed.  It  is  well  to  place  a  heavy  charge  of  powder  in  gun 
and  stand  directly  in  front  of  table,  the  smoke,  report  and  your 
figure  will  hide  the  opperation  of  restoring  the  subject.  Inside  of 
table  is  painted  black. 

NEW  HAT  FAKE:- 

This  is  a  brass  cylinder  made  large  enough  to  contain  ten  sil- 
ver half-dollars.  The  coins  are  fed  upwards  by  force  of  a  spiral 
spring  of  sufficient  strength  and  are  checked  from  passing  out  by 
the  rim  being  turned  over  at  the  end  half  way  round.  A  simple 
downward  pressure  of  the  finger  slides  a  coin  off  when  it  is  wanted 
and  another  one  takes  its  place.  Two  wire  pins  are  soldered  to  the 
top  of  the  cylinder  an  such  a  manner  that  when  the  points  are  stuck 
through  the  hat  band  inside  the  hat  the  coins  must  slide  down- 
wards. The  effect  of  the  Aerial  Treasury  is  most  bewildering  when 
this  little  helper  is  used,  especially  when  used  in  connection  with 
the  coin  wand  as  the  performer  can  at  any  moment  lay  the  hat  on 
the  table  and  by  gesture  prove  the  emptiness  of  his  hands. 

THE  DIAMOND  MYSTERY- 

The  ace  of  diamonds  is  forced  on  some  one  and  then  burned; 
the  ashes  are  gently  rubbed  in  left  hand  and  from  them  is  produced 
a  diamond  which  has  been  previously  palmed  in  the  hand.  (A  good 
diamond  may  be  obtained  from  a  flashy  25c.  ring.)  Make  pass  and 
pretend  to  swallow  this  diamond,  but  drop  it  in  your  pocket  and 
palm  a  large  crystal  such  as  is  sold  by  school  supply  houses  to  illus- 
trate geometrical  solids  etc.  Produce  this  from  ycur  mouth  and 
show  it,  then  make  pass  and  palm  it  in  right  hand,  while  left  hand 
throws  it  towards  audience  and  vanishes  it. 

THE  SPIRIT  SCRIBE:- 

This  test  is  often  performed  by  mediums  with  good  effect. 
Heat  a  sheet  of  thick  glass  over  a  spirit  lamp  or  stove  thoroughly, 
and  suspend  it  on  the  stage  before  curtain  goes  up,  and  it  should 
be  introduced  as  the  first  trick;  also  have  a  sheet  of  paper  prepared, 
by  writing  a  message  on  it  with  diluted  Sulphuric  Acid,  using  a 
clean  pen.  This  writing  when  dry  will  be  invisible,  but  when  laid 
on  the  hot  glass  the  writing  will  immediately  appear  in  black  char- 
acters. 

A  LIVE  HAT:- 

This  is  a  very  good  finale  to  the  favorite  hat  trick.     A  skull 


8 


SHAw'S  MAGICAL  INSTRUCTOR. 


is  introduced  into  a  hat,  from  servante  of  center  table,  and  the  hat 
placed  rim  downwards  on  a  glass  top  stand.  The  skull  has  a  hole 
running  through  the  center  from  bottom  to  top.  The  glass  stand 
is  fitted  with  a  piston  which  is  about  eighteen  inches  long,  and, 
which  when  pulled,  goes  through  the  hole  in  skull,  and  coming  out 
at  top  encounters  the  crown  of  hat  and  lifts  it  up,  disclosing  to 
view  the  skull.  By  having  a  movable  jaw  on  skull,  the  jaw  can  be 
made  to  move  by  means  of  a  black  thread  stretched  across  the  stage 
as  in  "Head  of  Ibicus.'* 

CHANGING  DECAPITATION:- 

For  this  illusion  you  must  have  a  cabinet  lined  with  black 
cloth,  and  arrange  lights  so  as  not  to  shine  inside  of  cabinet.  The 
skeleton  is  a  man  dressed  in  a  suit  of  black  tights,  with  a  skeleton 
painted  on  front,  and  wearing  skeleton  gloves;  at  a  short  distance 
the  black  body  is  not  visible.  The  skull  is  metal  enameled,  but 
not  attached  to  the  skeleton,  but  to  a  piece  of  black  cloth  "B"  fig  3, 
which  is  stretched  on  wire,  (the  skeletons  real  head  is  an  imitation 
of  the  performers  head).    There  is  also  another  one  of  these  cloths, 

'A"  and  both  pieces  of 


cloth  are  weighted  at 
the  lower  edge.  To  the 
upper  corners  of  each 
cloth  is  fastened  strong 
black  cords  which  run 
over  pully's  in  the  top  of 
cabinet  and  then  down 
behind  it  to  assistant. 
When  performer  steps 
into  the  cabinet,  he 
takes  his  position  dir- 
ectly under  cloth  "A.'- 
At  the  moment  the  per- 
former fires  pistol  the 
assistant  pulls  the  cord 
[Fig.  3.]  attached  to  cloth  "B" 

(which  raises  it  up  out  of  view,)  bringing  into  view  the  head  of 
skeleton,  which  is  made  to  resemble  performers  head.  The  assist- 
ant at  the  same  timeslackens  cords  "B"  which  drops  down  to  per- 
formers shoulders,  before  his  head,  and  brings  into  view  the  skull 
attached  to  it.  The  two  moves  are  made  together  and  at  the  same 
instant  of  pistol  report.    By  the  alternal  pulling  and  slacking  of 


SHAW'S  MAGICAL  INSTRUCTOR. 


9 


cords,  you  may  cause  the  head  and  skull  to  change  places  any  num- 
ber of  times.  It  is  best  to  mark  the  cords  to  prevent  the  assistant 
from  letting  the  clothes  down  to  far,  in  which  event  they  would  con- 
ceal a  portion  of  the  skeleton  or  performers  shoulders,  and  expose 
the  trick. 

THE  WONDERFUL  LAGER-BEER  GLASS  AND  PAPER 
CONES:-  You  fill  the  glass  with  beer  and  cover  it  over  with  a 
handkerchief,  then  take  two  pieces  of  white  paper  (which  may  be 
examined,)  and  make  them  into  two  paper  cones  or  sugar  bags;  you 
aho  show  two  ordinary  wine  glasses  quite  empty,  over  each  of  which 
you  place  one  of  the  paper  cones.      You  then  command  change  to 

take  place.  Uncover  the  lager  glass 
and  show  that  the  beer  has  disap- 
peared and  that  it  is  quite  empty. 
Next  remove  the  paper  cones,  and 
each  of  the  glasses  is  full  of  beer. 
The  paper  cones  are  unrolled  as 
they  are  taken  off  and  shown  to  be 
quite  empty,  and  may  be  examined. 
Figure  4,  gives  an  idea  of  appara- 
tus used. 

Secret:— The    glass    is  filled 
[Fig.  4.]  with  beer,  and  it  has  a  small  hole 

in  the  bottom  which  is  kept  closed  by  a  small  piece  of  damp  mica. 
You  place  glass  on  a  book  or  tray,  sliding  it  along  so  as  to  remove 
mica  from  off  the  hole.  The  book  or  tray  is  really  hollow  and  con- 
tains a  tin  receptable  with  a  hole  in  top  side,  to  correspond  with 
that  in  glass  through  which  the  beer  runs.  After  the  paper  cones 
are  made  up,  you  load  into  them  two  small  tin  fakes  which  hold 
beer;  they  have  an  outlet  tube  at  bottom  and  the  beer  is  kept  in 
them  by  a  small  valve  at  top  side,  this  valve  when  pressed  admits 
air,  and  so  lets  beer  run  into  glass.  [You  press  valve  when  placing 
paper  covers  over  glasses.]  Cover  large  glass  with  a  handkerchief, 
and  as  you  lift  off  cones,  drop  the  fake  out  on  to  servante  and 
immediately  unroll  paper  and  show  to  audience. 

THE  DICE  HOUSE :- 

For  this  trick  you  need  a  small  wooden  house  large  enough  to 
contain  three  31  inch  dice,  one  of  which  is  red,  one  black  and  one 
white.  Audience  look  into  house  and  suppose  it  to  be  empty  as 
they  see  only  two  shelves,  on  which  the  dice  are  to  be  laid.     These 


10  SHAW'S  MAGICAL  INSTRUCTOR. 

shelves  are  the  tops  and  bottoms  of  three  shell  dice  already  conceal- 
ed in  the  house.  These  shells  are  made  of  pasteboard  and  one  side 
is  open,  this  is  the  side  presented  to  the  audience.  The  three  dice 
are  pasted  together  and  a  small  projection  at  the  top  and  bottom 
fits  in  a  small  hole.  The  walls  of  the  house  look  thick  from  the 
outside,  but  they  are  hollowed  out  on  the  inside  so  that  by  turning 
the  chimney  you  may  turn  the  shell  dice  around.  Each  of  the  three 
sides  of  these  dice  are  painted  a  different  color;  (red,  black,  white). 
Have  the  three  solid  dice  examined,  place  them  in  the  house,  really 
into  the  shell  dice,  close  the  door  and  give  the  chimney  a  quarter 
turn,  open  the  door  and  show  the  audience  who  will  see  the  new 
sides  of  the  shells  that  the  dice  have  chanced  places,  repeat  this 
three  times,  which  will  bring  the  dice  to  their  original  places;  now 
take  them  out  again.  Here  are  the  positions  of  changes  on  the 
shell  dice: 


ice  put  in. 

1st  Change. 

2nd  Change. 

3rd  Change. 

Ked 

Black 

White 

Ked 

Black 

White 

Ked 

White 

White 

Bed 

Black 

Black 

The  house  can  also  be  used  to  appear  or  vanish  one  to  three 
dice  to  good  advantage. 

THE  DEVIL'S  EOD  OR  STICK  OF  ENCHANTMENT:— 

The  effect  of  the  Stick  of  Enchantment  is  as  follows:— The 
performer  turns  his  sleeves  up  right  to  the  elbow  and  the  arms  are 
quite  bare;  instantly  the  performer  produces  a  very  handsome  long 
stick,  with  ferrule  and  knob.  It  is  a  perfect  representation  of  an 
ebony  stick,  and  to  prove  that  it  is  quite  solid  the  performer  hits 
the  table  with  it,  which  proves  it  perfectly  solid.  Now  the  perfor- 
mer takes  the  stick  between  his  hands,  and  it  is  seen  to  grow  small- 
er and  smaller,  till  it  is  about  one  quarter  of  its  size,  then  in  an  in- 
stant it  vanishes  altogether. 

The  apparatus  used  in  this  trick  are  as  follows:— Procure  a 
piece  of  the  very  thinest  sheet  steel  spring,  about  six  feet  long  and 
three  inches  wide;  this  you  coil  into  a  tube  similar  to  the  magic 
barber  pole,  so  that  when  opened,  it  is  about  three  feet  long  and  is 
japanned  black,  and  has  a  nickel-plated  ferrule  fastened  on  one  end 
and  a  nickel-plated  knob  fits  on  the  other  end  of  stick.  Knob  can 
be  put  on  and  taken  off,  at  will,  when  the  stick  is  opened.  A  brass 
case  four  inches  long  and  one  inch  in  diameter,  is  used  to  carry 
stick  in  when  not  in  use. 

To  prepare  this  trick  take  the  spring  out  of  the  case  and  hold 


SHAW'S  MAGICAL  INSTRUCTOR.  11 

the  spring  together  in  the  right  hand.  Have  the  knob  in  your  poc- 
ket so  that  you  can  easily  get  at  it.  To  perforn  this,  trick,  you  pull 
up  both  your  sleeves,  then  quickly  open  your  hand  and  let  the  spring 
fly  out,  which  you  pull  out  as  far  as  it  will  go,  forming  a  walking 
stick,  and  twist  it  very  tight,  so  as  to  make  it  appear  quite  solid, 
and  by  hitting  it  on  the  table  it  sounds  perfectly  solid;  unperceived 
slip  the  knob  on,  which  holds  the  stick  firm. 

To  vanish  the  stick  take  the  knob  off  and  slip  it  into  your 
pocket,  and  slightly  unscrew  the-  end,  then,  with  the  left  hand 
catch  hold  of  the  ferrule  and  hold  the  top  end  in  the  right  hand, 
gradually  bringing  the  two  hands  together;  as  you  do  so  give  a  screw- 
ing movement  with  both  ends,  until  you  get  it  as  small  as  it  will  go 
then  quickly  palm  it  in  the  right  hand,  holding  it  so  that  it  cannot 
spring  out;  whilst  you  are  making  it  smaller  you  should  gently 
move  your  hands.  Next  put  your  right  hand  in  your  trousers  poc- 
ket and  produce  it  slowly,  then  again  screw  it  up  and  make  it  quite 
solid  by  placing  on  the  cap.  The  performer  then  vanishes  it  again 
or  can  let  it  remain  in  sight  of  the  audience,  as  there  is  no  fear  of  it 
springing  out  with  the  knob  on.  This  wants  a  little  practice,  as 
one  has  to  find  out  which  way  they  can  hold  it  best. 

IMPKOVED  TORN  CARD  TRICK:- 

Requisites:— Changing  card  box  (loose  flap  business),  corner 
flap  card,  forcing  pack  to  match  corner  flap  card,  and  pistol. 

Place  torn  card,  with  corner  folded  down,  under  flap  in  box. 
Tear  a  similar  piece  out  of  a  duplicate  card;  conceal  this  piece  some- 
where about  the  person,  and  have  a  card  placed  beforehand  in  a 
place  to  be  determined  on,  such  as  on  a  curtain,  or  on  a  wall,  with 
loose  flap  of  the  same  material  over  the  same,  to  fall  down  by  as- 
sistant pulling  a  thread  when  the  pistol  is  fired.  Force  the  card, 
and  have  the  corner  torn  off,  which  must  be  changed  for  the  dupli- 
cate corner  you  have.  Then  tear  up  remainder  of  card,  and  wrap  it 
up  in  a  piece  of  white  paper,  and  pretend  to  place  it  in  the  left  hand 
in  which  you  have  a  piece  of  flash  paper;  touch  in  flame  of  candle, 
and  it  disappears.  Say  pieces  are  gone  into  candle;  say  they  pass 
down  candlestick,  which  lift  up  and  find  underneath  the  duplicate 
card  minus  the  corner  (which  you  have  previously  placed  there); 
have  corner  fitted  to  card  to  show  it  matches,  and  say  it  was  un- 
fortunate you  forgot  the  corner  but  it  will  be  easy  to  restore  card  if 
it  is  put  into  the  box  and  shut  up  (turning  it  over  and  changing  for 
corner  flap  card)  but  say  you  won't  use  any  apparatus,  but  restore  it 
visibly,  therefore.take  card  out  again,  but  this  time  the  corner  flap 


12 


SHAW  S  MAGICAL  INSTRUCTOR. 


card.  [To  take  the  card  out,  simply  turn  the  box  over  on  the  table 
and  let  the  cards  drop  out,  but  slip  the  fake  behind  some  object  on 
the  table  to  conceal  it.]  Leave  the  box  in  a  condition  to  be  picked 
up  empty.  Hold  the  torn  card  in  the  left  hand,  throw  the  piece  at 
the  card  (palming  it),  and  show  the  card  whole,  saying,  "you  see  it 
is  quickly  restored  without  any  mechanism  whatever,  not  even  such 
a  trifling  affair  as  this,"  giving  a  half  turn  and  picking  up  the 
empty  box  from  the  table,  and  .handing  it  for  examination.  In 
making  this  turn,  you  exchange  mechanical  torn  card  for  duplicate 
whole  one,  either  by  "profonde"  or  "pochette,"  letting  hand  drop 
to  side  on  turning;  or  on  "servante,"  while  leaning  over  to  reach 
the  box;  hand  both  for  examination,  and  call  attention  to  the  per- 
fection of  the  joining  of  the  card.  Finally,  tear  the  card  up  again, 
load  the  pistol  with  the  pieces,  and  fire  at  the  curtain,  revealing 
the  duplicate     Grand  Effect. 

NEW  TAPE  TRICK:- 

Take  three  yards  of  ordinary  tape,  place  centre  in  mouth  fig.  5, 
and  let  the  ends  hang  down;  A,  right  end  of  tape;  B,  left  end.  Take 
end  of  B  in  right  finger  and  thumb,  and  A  with  the  left  hand;  the 
tape  will  now  be  crossed,  B  part  being  next  the  body,  bring  right 
hand  up  to  mouth  and  hold  end  B  on  the  right  side  of  the  mouth 
against  tape,  do  the  same  with  the  other  end  A,  to  the  left  side  of 
mouth.  On  gripping  at  the  two  points  and  removing  centre  from 
mouth,  it  will  be  as  follows: 


[Fig.  6.]  [Fig.  7.]  [Fig  5.] 

Hold  ends  A  and  B,  at  the  points  where  they  cross  tape,  near 
centre  fig.  6,  so  gripping  the  two  thicknesses  of  tape;  this  position 
must  be  thoroughly  shown  so  that  audience  can  see  that  X,  is  really 
center  of  tape.  Now  ask  someone  to  get  out  a  knife  to  cut  it  at  X, 
in  fig.  7;  moving  forward  to  this  person,  drop  that  part  of  the  tape 
against  which  you  hold  the  end  with  the  right  hand;  quickly  but 
quietly  sieze  in  its  place  the  tape  just  below  the  end  A,  held  in  left 
hand.    The  aspect  of  this  is  the  same  as  before  but  instead  of  X 


SHAW'S  MAGICAL  INSTRUCTOR.  13 

being  in  middle  it  is  only  a  short  piece  from  A.  Have  this  cut,  i.  e., 
really  a  small  piece  from  end  A.  When  cut  drop  the  ends  into  the 
right  hand  but  keep  the  left  finger  and  thumb  over  the  part  where 
the  tape  crosses.  Now  tie  the  two  ends,  which  are  really  the  two 
ends  of  little  piece,  together  tie  these  two  ends  "round"  the  tape 
and  pull  tight.  The  short  severed  piece  will  now  be  tied  round  the 
middle  of  tape  and  will  look  as  if  it  had  been  cut  and  joined  again 
at  that  point.  Show  it  openly  and  jerk  it  from  ends  as  if  to  test 
strength  of  knot.  Go  through  this  same  process  two  or  three  times 
so  that  there  will  on  the  end  be  several  apparent  cuts  and  joins  near 
centre  of  tape.  You  will  find  it  convenient  to  have  two  gentlemen 
assisting  you,  and  in  the  turning  from  one  to  the  other  gives  time 
to  execute  the  movements  To  rest  on  B  exhibit  well  in  this  condi- 
tion, then  take  in  right  hand  and  twist  it  around  left  hand,  letting 
it  slide  through  and  so  drawing  all  knots  toward  one  end;  when  ends 
is  reached  they  all  slip  into  that  hand,  and  you  give  length  of  tape 
for  examination  and  secretly  put  loose  knots  in  pocket. 

NEWEST  WINE  AND  WATER  TRICK:- 

This  splendid  trick  requires  practice  in  order  to  attain  profi- 
ciency in  its  various  details,  but  it  is  a  trick  that  astonished  the 
Egyptian  Hall  audience  for  weeks.  First  make  a  solution  of  sulpho- 
cyanide  of  potassium  with  about  a  pint  of  water— a  chemist  will  do 
it  for  you.  Then  knead  some  powered  oxalic  acid  into  a  stiff  paste; 
make  this  into  lozenges  about  the  size  of  a  halfpenny,  but  thicker, 
and  let  them  dry  and  get  hard.  Get  a  small  quantity  of  saturated 
solution  of  perchloride  of  iron  (this  is  sold  under  the  name  of  "steel 
drops.")  Have  on  the  table  the  following:— A  jug  which  we 
will  call  A,  and  five  wine  glasses,  B,  C,  D,  E,  F.  Prepare  the  jug, 
A,  by  pouring  into  it  enough  water  to  fill  four  wine  glasses,  and  a 
tablespoonful  of  the  cyanide  solution.  Glasses  B  and  D  are  unpre- 
pared. In  C  and  E  put  two  drops  of  the  "steel  drops;"  in  F  put 
half  a  teaspoonful  of  ammonia. 

Trick:— Pour  water  from  the  jug,  A,  into  the  glasses,  B,  C,  D, 
and  E,  when  water  and  a  wine  red  liquid  will  appear  alternately. 
The  contents  of  the  four  glasses  are  then  poured  back  into  A,  which 
will  now  be  found  to  contain  a  wine  red  liquid.  This  liquid  is  once 
more  poured  into  B,  C,  D,  and  E,  and  A  is  shown  empty.  Now  slip 
into  A,  unobserved,  one  of  the  oxalic  lozenges,  without  breaking  it, 
if  possible.  Pour  the  red  liquid  from  the  glasses  into  A,  and  it 
Changes  into  water;  pour  some  of  this  into  F,  and  it  is  again  red. 


14  SHAAV'S  MAGICAL  INSTRUCTOR. 

W  Oxalic  acid  is  deadly  poison.  The  amalgamated  liquids 
should  be  got  rid  of  as  soon  as  possible.  Of  course,  on  commencing 
this  trick  you  show  the  glasses  as  empty,  and  the  jug  as  containing 
water. 

COLORED  SANDS  OF  ENCHANTMENT:- 

Consists  of  a  small  quantity  of  differently  colored  sands.  You 
can  make  these  by  dying  ordinary  silver  sand.  Prepare  a  small 
quantity  of  each  of  these  by  charring  over  the  fire  in  a  frying  pan, 
with  a  small  piece  of  wax  candle;  you  will  best  find  out  the  quanti- 
ty by  trying.  Now  put  these  sands  so  prepared  in  the  bottoms  of 
small  tumblers,  heat  slightly,  and  press  down  the  sand,  to  cause  it 
to  adhere  and  form  little  cakes.  Put  each  of  these  cakes  into  bags 
(small  ones)  containing  unprepared  sands  of  the  same  color.  Have 
the  different  sands  examined,  taking  care  that  the  audience  do  not 
see  the  cakes  in  the  bags.  Pour  the  sands  from  each  bag  into  a 
large  basin  of  water,  and  mix  up  thoroughly  with  the  hand;  the 
cakes  being  at  the  bottom  are  not  seen.  Now  put  the  hand  in  the 
water  and  get  hold  of  one  of  the  little  cakes,  take  it  out,  and  in 
doing  so  squeeze  it,  and  it  will  fall  into  grains,  which  you  let  fall 
from  the  hand  to  the  plate,  dry,  and  of  the  chosen  color.  To  insure 
picking  the  right  color  make  the  cakes  of  different  shapes,  say  one 
oblong,  one  square,  and  another  round.  After  the  cakes  are  taken 
out,  let  the  audience  try  and  test  for  themselves. 

NEW  SENSATIONAL  CARD  TRICK:- 

Requisites:— Spirit  writing  slate;  plain  frame,  with  clear  glass 
front,  and  loose  back  fastened  in  with  crossbar;  forcing  pack;  pho- 
tos of  three  statesmen  pasted  on  back  of  three  cards  to  match  forc- 
ing pack;  and  paper  bag  made  double,  really  two  bags  fastened 
together. 

Effect: — Three  freely  selected  cards  leave  a  marked  envelope 
held  by  one  of  the  audience,  and  appear  in  the  empty  frame.  The 
names  of  three  cards  are  found  written  on  two  slates  in  place  of  the 
cards;  the  envelope  contains  three  photos  of  statesmen,  whose 
names  are  found  written  on  a  piece  of  paper  that  has  been  freely  se- 
lected out  of  a  dozen  or  more  collected  from  the  audience,  after 
they  have  written  on  them  the  names  of  any  three  statesmen  they 
fancy. 

Secret:— Arrange  forcing  pack  as  follows:— Suppose  it  is  com- 
posed of  ace,  ten,  and  three;  put  a  ten,  then  a  three,  then  an  ace, 
and  so  on  all  through  the  pack.    Offer  the  pack  to  be  cut,  and  have 


SHAW'S  MAGICAL  INSTRUCTOR.  15 

the  three  top  cards  taken,  when  they  are  bound  to  take  the  three 
cards  you  wish  to  force.  Have  them  shown  to  the  audience  and  put 
in  the  envelope.  Take  the  envelope,  and  in  walking  back  to  the 
stage,  change  it  (vest);  then,  as  if  you  had  forgotten,  say  you  will 
have  it  marked  (of  course  they  then  mark  the  changed  envelope 
which  contains  the  three  photos),  and  leave  it  with  the  audience. 
Next  give  out  a  lot  of  slips  of  paper  for  them  to  write  on  the  names 
of  any  three  statesmen  they  fancy.  Collect  them  in  bag  (double 
bag,  one  side  containing  several  slips,  all  having  written  on  them 
the  names  of  the  three  statesmen  you  have  in  envelope).  In  walk- 
ing back  turn  bag  round,  and  ask  someone  to  freely  select  any  paper 
he  chooses  (all  being  alike  he  cannot  take  the  wrong  one)  and  retain 
it.  Now  show  slate  (on  which  you  have  beforehand  written  the 
names  of  the  three  cards  you  forced,  and  covered  up  with  loose  flap) 
blank  at  both  sides,  and  put  it  down  on  the  table.  Next  call  atten- 
tion to  the  frame,  which  take  to  pieces;  take  out  the  back,  then  the 
brown  paper  (which  has  pasted  on  the  side  next  to  wooden  back 
duplicate  cards  to  those  which  you  forced),  then  the  glass.  Borrow 
a  handkerchief,  and  lay  frame  face  down  on  it,  put  in  the  glass, 
then  the  brown  paper  (which  now  has  the  cards  underneath),  with* 
out  turning  it  over  (cards  will  now  face  the  glass),  and  put  in  the 
back,  fasten  all  up  in  the  handkerchief  (without  letting  the  audi- 
ence see  the  front  of  the  frame,  or  they  will  see  the  cards  there), 
and  give  someone  to  hold.  Command  the  changes  to  take  place, 
and  show  the  slate  with  the  names  of  the  cards  written  on,  frame 
with  the  three  cards  in,  and  the  envelope  will  contain  the  three 
photos  of  the  statesmen  whose  names  are  written  on  the  slip  of 
paper.    Grand  Effect. 

ECLIPSE  COIN,  CAKD,  AND  CANDLE  TRICK. 

Effect:— A  pack  is  shuffled  and  a  card  selected;  this  is  taken 
and  placed  in  the  hat  band  of  a  gentleman's  hat,  or  anywhere  in 
full  view.  A  half-dollar  is  borrowed,  marked,  and  passed  for  iden- 
tification. A  cigarette  paper  is  then  handed  to  a  lady,  who  is  asked 
to  write  her  name  and  address  on  it,  and  tear  it  in  half,  so  that  it 
can  be  matched  later.  The  half-dollar  is  then  taken  and  wrapped 
in  the  half  cigarette  paper.  This  is  taken  to  any  candle,  and  as 
soon  as  it  nears  the  flame  it  goes  in  a  flash.  The  card  is  taken  by 
the  gentleman  from  the  hat,  or  from  its  position,  and  the  coin  is 
felt  to  be  inside;  the  card  has  to  be  broken  to  get  the  half-dollar  out 
which  is  identified  as  the  same  coin.  Any  candle  on  the  table  is  se- 
lected; it  is  first  cut  up  into  two  pieces,  and  the  audience  select 


16  SIIAW'S  MAGICAL  INSTRUCTOR. 

either  piece;  this  is  cut  again,  and  the  audience  select  either  of  these 
pieces;  cut  again,  and  the  audience  select  either  piece;  this,  on  being 
cut  open  by  the  lady,  contains  the  piece  of  paper  which  matches 
her  own  piece.    "Requires  coolness  and  dexterity." 

Preparation:— Have  two  half-dollars  cf  the  same  date  marked 
alike,  so  that  no  difference  can  be  seen.  Have  a  piece  of  flash  paper 
wrapped  up  in  the  shape  of  a  half-dollar.  Put  the  flash  paper  on 
the  table  out  of  sight,  or  easily  accessible.  Take  a  similar  card  to 
that  which  you  will  force,  and  split  it  carefully  open  from  the  top, 
so  that  the  back  comes  away  from  the  front.  When  you  have 
stripped  it  to  half  the  length  of  the  card,  put  one  of  the  half-dollars 
in  and  paste  the  sides  around,  placing  heavy  weights  on  the  sides 
to  keep  it  in  its  original  form;  when  it  is  dry  it  is  as  an  ordinary 
card,  this  card  you  can  place  on  the  table  face  upwards;  no  one  to 
see  it  but  you.  The  other  half-dollar  put  in  hip  pocket,  or  anywhere 
so  that  you  can  get  it  easily.  Then  cut  up  a  candle,  take  one  piece 
about  an  inch  long,  and  hollow  out  the  inside.  Put  one  in  side 
pocket,  or  vest  it.  The  candle  must  be  of  the  same  color,  etc.,  as 
those  burning  on  the  table,  which  you  intend  to  use.  You  are  now 
ready. 

Bring  forward  the' pack  (false  shuffle),  and  force  a  duplicate 
card  to  that  which  lies  prepared  on  the  table;  leave  the  card  with 
the  gentleman,  and  ask  him  to  show  it  to  the  company;  while  doing 
this,  carelessly  lay  your  pack  on  the  table,  faces  upwards.  Lay  the 
pack  upon  the  prepared  card,  which,  when  you  take  the  pack,  will 
be  on  the  top.  Explain  to  the  audience  that  you  are  going  to  do  a 
remarkable  trick,  etc.  Take  up  the  pack  and  hold  it  in  the  left 
hand.  Go  to  the  gentleman  and  ask  him  to  give  you  the  card,  and 
you  will  place  it  in  full  view,  now,  by  means  of  the  pass  or  other- 
wise, change  the  card,  or  you  can  change  it  as  you  go  to  the  table; 
place  the  card  facing  the  audience  in  full  view,  and  later  put  in 
some  gentleman's  hat  band;  the  best  plan  is  to  keep  the  hat  on  the 
table,  to  prevent  the  owner  becoming  curious.  [I  am  explaining 
this  very  fully  to  you.]  Now  get  the  marked  half-dollar  and  keep 
it  between  the  first  and  second  fingers  of  the  right  hand.  Borrow  a 
half  dollar  and  get  it  marked  with  a  penknife.  Get  one  or  two 
near  the  marker  to  look  at  it,  and  then  take  it  to  the  opposite  side 
and  let  others  examine  it;  as  you  pass  across  with  the  borrowed 
coin  between  the  second  finger  and  thumb,  bring  it  down  to  the 
palm  and  produce  the  duplicate— this  can  be  done  without  detec- 
tion before  anyone's  eyes.    Now  take  it  in  full  view  (apparently  the 


SIIAW'S  MAGICAL  INSTRUCTOR.  17 

borrowed  one,  but  "really"  the  marked  one  of  your  own),  and  place 
it  in  full  view  (I  put  mine  in  a  cleft  stick  on  the  table).  Now  get 
a  lady  to  write  her  name,  etc.,  on  a  cigarette  paper,  meanwhile, 
drop  the  half-dollar  in  your  pochette,  ready  for  reproduction  later. 
Take  the  half  of  the  cigarette  paper,  and  put  it  on  the  table,  under 
the  pretence  of  tucking  your  sleeves  right  up.  Put  the  half  of  the 
cigarette  paper  upon  the  flash  bit  which  is  wrapped  up  like  a  half- 
dollar.  New  hold  the  cigarette  paper  between  the  top  of  the  second 
finger  and  top  of  the  thumb  of  each  hand;  it  will  face  the  audience. 
Behind  this  is  the  flash  unseen.  Now  take  the  half-dollar  from  the 
table  and  place  it  in  front,  and  fold  the  cigarette  paper  over  it  so  as 
to  surround  the  coin.  Slip  up  the  flash  paper  from  behind;  go  to  the 
candle:  "Presto!  gone!"  in  a  flash.  In  the  flash  drop  the  wrapped- 
up  half-dollar  in  your  trousers,  or  elsewhere,— it  won't  be  wanted 
again.  While  putting  the  half-dollar  away,  get  hold  of  the  paper 
in  which  it  is  wrapped,  which  is  the  half  corresponding  to  that  held 
by  the  lady;  squeeze  this  up  very  small,  long  fashion;  you  can  stand 
in  easy  posture  with  hands  behind  you;  get  the  piece  of  candle  from 
your  vest,  and  force  the  paper  in,  dropping  the  candle  in  your  poc- 
ket, or  vesting  it  again.  [This  sounds  complicated,  but  you  will 
And  it  remarkably  easy]. 

You  talk,  of  course,  to  keep  the  audience  on  the  move.  The 
rest  is  easy.  Go  to  the  hat;  let  the  gentleman  take  the  card,  and  he 
and  others  will  feel  the  coin.  Get  the  parties  who  identified  the 
coin  to  open  the  card,  and  they  will  see  it  is  the  same,  and  as  you  go 
to  the  owner  of  the  coin,  change  it  for  the  one  you  actually  borrow- 
ed. 

NEW  PROGRAMME,  RING,  AND  ENVELOPES   TRICK:- 

Effect:— A  ring  is  borrowed,  also  a  programme,  and  the  latter 
is  torn  in  two.  Volunteer  is  invited  on  the  platform.  Half  of  the 
programme  is  spread  over  the  hand,  and  the  ring  placed  on  it.  The 
performer  then  squeezes  up  the  programme  and  ring,  and  commands 
the  programme  to  change  into  a  series  of  envelopes,  with  the  ring 
in  the  centre  one,  and  this  is  found  to  have  been  done.  Volunteer 
has  to  open  the  four  envelopes  before  he  finds  the  ring.  Performer 
now  repeats  the  trick  with  the  other  half  of  the  programme,  and 
again  the  ring  is  found  in  the  innermost  envelope,  and  is  returned 
by  the  volunteer  to  the  owner.  The  broken  envelopes  are  then 
taken  in  the  hand,  squeezed  up,  and  transformed  into  programme 
again.    "Very  elaborate  effect." 

Secret:— The  ring  is  changed  on  wand  (old  dodge).     The  first 


18  SHAW'S  MAGICAL  INSTRUCTOR. 

series  of  envelopes  is  perfect  (made  out  of  similiar  programmes,  of 
course)  and  carefully  sealed  up  with  dummy  ring  inside,  concealed 
(say)  in  right  pochette,  and  (when  programme  is  handed)  taken  be- 
tween root  of  thumb  and  finger — forefinger.  The  programme  is  laid 
on  the  hand,  the  substitute  ring  is  placed  thereon  under  the  thumb, 
all  squeezed  up,  and  envelopes  produced— the  programme  is  slipped 
into  pocket  while  the  audience  are  gazing  at  the  opening  of  the 
envelope.  Lay  great  stress  on  the  fact  of  each  envelope  being  se- 
curely fastened,  and  ask  the  volunteer  if  he  can  take  out  the  ring 
without  breaking  the  seals,  &c,  &c.  Meanwhile  arrange  for  the 
repetition  of  the  trick.  The  second  series  of  envelopes  is  open  at 
one  end,  and  has  a  flat  thin  tube  (a  la  shilling  in  ball  of  wool)  down 
into  "not  quite"  the  bottom  of  the  smallest  one  (the  tube  to  fit 
loosely),  and  place  each  succeeding  envelope  wax  side  downwards. 
While  the  volunteer  is  working  with  the  first  set,  drop  the  borrow- 
ed ring  down  the  tube  into  the  innermost  envelope  (say  in  the  right 
pochette),  shake  the  tube,  withdraw  it,  then  bend  the  ends  of  the 
envelopes  over  tightly,  and  proceed  with  the  trick  with  the  second 
half  of  the  programme  as  before,  asking  the  volunteer  if  he'  would 
like  to  do  the  trick. 

A  good  finish  is  made  by  collecting  all  the  envelopes,  having 
a  complete  programme  in  the  hand,  and  changing  them  for  it.  To 
do  this,  simply  squeeze  up  the  bundle,  bring  the  programme  to  the 
top,  and  hand  it  over,  immediately  taking  wand  in  hand. 

NEW  METHOD  OF  GETTING  FLOWERS  INTO  CONE:- 

Have  a  little  cardboard  pocket  (into  which  the  flowers  will 
slip  easily)  stitched  just  under  the  left  breast  of  waistcoat.  To  the 
elastic  band  round  the  flowers  have  a  black  thread  attached,  the 
other  end  of  the  thread  being  secured  by  a  swivel  to  a  ring  stitched 
on  right  side  of  vest  (a  la  handkerchief  vanisher).  While  showing 
paper,  not  folded,  hook  the  thread  over  the  right  thumb,  and  first 
showing  paper  to  audience,  turn  it  down  to  make  a  cone,  and  at  the 
same  instant  pull  the  thread  with  the  thumb,  which  brings  the 
flowers  well  behind  the  paper,  both  hands  being  at  least  six  inches 
from  the  body  throughout.  The  thread  is  then  broken,  and  the 
flowers  squeezed  out.  I  usually  make  a  pretence  of  putting  the 
flowers  into  the  cone,  and  when  about  [apparently]  to  shake  them 
out,  undo  the  paper  and  again  show  that  the  audience  are  deceived, 
as  they  are  not  there.  Sleeves  up,  and  arms  bare  to  elbows.  Fine 
effect  and  goo3  business, 


SHAW'S  MAGICAL  INSTRUCTOR.  19 


THE  ORNITHOLOGICAL  LABYEINTH:- 

Apparatus  required:— Vanishing  canary  of  the  usual  shape. 
A  lemon  prepared  as  follows:  Scoop  out  the  inside  and  after  having 
allowed  the  shell  to  dry,  put  a  live  canary  inside  which  has  a  piece 
of  ribbon  tied  around  its  neck.  The  ribbon  has  a  small  watch 
swivel  at  the  loose  end.  Close  the  lemon  up  and  allow  the  swivel 
to  hang  out  of  a  hole  on  one  side;  put  this  in  your  coat  tail  pocket; 
fasten  the  elastic  of  the  dummy  bird  to  the  inside  of  the  back  of 
your  coat  "a  la  vanisher."  Borrow  a  ring  which  you  change  on 
your  wand  for  a  dummy  which  you  give  to  some  one  to  hold.  Place 
your  hand  in  your  coat  tail  pocket  and  after  having  hooked  the 
ring  on  the  watch  swivel,  bring  out  the  lemon;  place  the  lemon  on  a 
plate,  ring  away  from  the  audience.  .  Make  a  cone  out  of  paper  at 
the  same  time  calling  attention  to  some  birds  in  a  cage  on  the  table. 
Give  the  cone  to  someone  to  hold,  go  to  the  cage  to  take  out  a  bird 
and  as  you  do  so  get  the  dummy  into  your  hand  and  take  it  out  of 
the  cage  instead  of  a  live  bird.  Go  to  the  person  holding  the  cone 
and,  tipping  it  slightly  towards  you,  place  your  hand  inside  and 
release  the  dummy  bird,  which  flies  up  under  your  coat.  Close  the 
top  of  the  cone  and  have  it  held  up,  take  the  dummy  ring  and,  plac- 
ing it  in  your  pistol,  fire  through  the  cone  at  the  lemon;  now  open 
the  cone  which  is  found  to  be  empty,  cut  open  the  lemon  and  reveal 
the  bird  and  ring. 

THE  FLIGHT  THROUGH  CRYSTALS:- 

Effect: — You  hand  to  audience  for  examination,  three  silk 
handkerchiefs;  one  red,  one  white,  and  one  blue.  Next  you  show 
two  crystal  cylinders,  such  as  is  used  on  gas  jets.  Have  someone 
in  audience  to  tie  the  corners  of  blue  and  white  handkerchiefs  to- 
gether and  roll  them  into  a  ball,  which  you  place  in  one  of  the  cyl- 
inders, and  give  to  someone  to  hold.  You  next  take  the  red  hand- 
kerchief and  place  it  in  the  other  cylinder,  and  hold  one  hand  over 
each  end  of  cylinder,  and  away  from  your  body.  You  now  command 
the  red  handkerchief  to  vanish,  and  instantly  the  cylinder  is  seen 
empty;  hands  are  still  covering  both  ends.  Person  holding  the 
other  cylinder  removes  the  two  handkerchiefs  and  unrolls  them, 
and  to  their  astonishment  they  find  the  red  handkerchief  which  had 
disappeared  from  the  other  cylinder  between  the  blue  and  white 
handkerchiefs,  all  being  tied  together.    Very  effective. 

Secret:— After  person  has  tied  blue  and  white  handkerchiefs 
together,  you  request  him  or  her  to  roll  handkerchiefs  into  a  ball, 
rolling  the  white  one  inside  of  the  blue  one,  and  place  ball  on  a 


20  SHAWNS  MAGICAL  INSTRUCTOR. 

plate  which  you  hold.  On  returning  to  stage  you  palm  duplicate 
ball  from  under  vest,  and  drop  it  on  plate  and  palm  first  ball  which 
you  place  under  your  vest.  The  ball  now  on  the  plate  is  composed 
of  three  handkerchiefs,  the  blue  one  being  on  the  outside  of  the  ball. 
Now  take  one  of  the  cylinders  from  table  and  place  on  plate  with 
ball;  going  to  someone  in  audience,  have  them  place  ball  in  cylinder 
and  hold  the  palms  of  their  hands  over  each  end  of  cylinder.  Per- 
former returns  to  the  stage  and  picks  up  red  handkerchief  and  slips 
it  through  loop  of  "pull,"  which  until  now  has  been  over  left 
thumb.  [The  pull  is  double,  same  as  described  on  page  34,  "Magic 
and  its  Mysteries,"  a  la  handkerchief  pull].  Now  you  take  up  the 
cylinder  and  place  handkerchief  in  it  and,  holding  palms  of  hands 
over  each  end  of  cylinder,  you -command  hankerchief  to  vanish,  at 
the  same  time  raise  hand  a  little  from  end  of  cylinder  on  the  side 
which  pull  is,  in  order  to  allow  handkerchief  to  slip  out  easy,  which 
is  drawn  up  your  sleeve  by  pull,  as  you  extend  your  arms  a  little; 
place  cylinder  on  table  and  walk  to  person  holding  the  other  cylin- 
der and  have  them  remove  ball,  which  they  unroll  and  find  the 
three  handkerchiefs  all  tied  together;  red,  white  and  blue. 

MEPHISTO'S  GLASS  CYLINDERS:- 

Effect:— Two  glass  cylinders  are  shown  and  then  placed  oppo- 
site to  each  other  on  the  stage.  Performer  borrows  a  dozen  hand- 
kerchiefs and  has  them  all  tied  together;  he  then  places  them  in 
either  cylinder,  as  selected  by  the  audience.  Performer  now  com- 
mands the  handkerchiefs  to  vanish,  which  they  instantly  do,  and 
appear  in  the  other  cylinder  which  was  previously  shown  empty. 
These  cylinders  can  also  be  used  for  the  vanishing  and  appearing  of* 
birds,  rabbits,  liquors,  flowers,  etc.,  etc. 

Secret:— Have  a  cylinder  of  opaque  glass  about  two  feet  high; 
also  two  shells  of  same  colored  glass  which  fit  over  the  genuine  cyl- 
inder that  has  bottom  in  it;  also  have  two  pedestals  (imitation  of 
marble),  which  are  hollow;  these  are  placed  over  traps  in  stage  at 
each  side.  Assistant  under  stage  has  a  long  rod  on  one  end  of 
which  is  a  wooden  disc;  this  disc  is  a  little  smaller  than  the  inside 
of  glass  shells.  Performer  shows  shell  and  cylinder  together,  then 
places  them  on  one  of  the  pedestals;  assistant  pushes  up  rod  from 
below  so  that  disc  is  flush  with  top  of  pedestal.  Performer  now 
places  the  other  cylinder  (shell),  on  the  second  pedestal.  He  now 
borrows  some  handkerchiefs  and  has  them  tied  together,  these  he 
places  in  first  cylinder  and,  on  command  to  vanish,  assistant  quick- 
ly lowers  rod  and  disc  (cylinder  containing  handkerchiefs  is  resting 


SHAW'S  MAGICAL  INSTRUCTOR.  21 

on  disc);  down,  and  quickly  shoves  it  up  into  the  shell  on  second 
pedestal,  from  which  the  performer  produces  the  handkerchiefs. 
Performer  steadies  outer  cylinder  or  shell,  by  placing  his  wand 
across  top  of  it  and  bearing  downwards,  meanwhile  addressing  the 
audience  upon  some  point  of  interest,  while  assistant  pushes  up 
inner  cylinder.  Of  course  you  must  have  audience  imagine  that  both 
cylinders  have  bottoms  in  them. 

NEW  SPIRIT  PICTURES:- 

Effect:— Medium  shows  a  wooden  frame,  on  which  is  a  piece 
of  cloth,  both  sides  of  which  are  shown  and  this  is  placed  on  an 
easel.  A  lamp  is  then  placed  behind  cloth  thus  rendering  it  trans- 
parant,  and  impossible  for  anyone  to  touch  cloth  from  behind  with- 
out being  seen.  Lights  are  then  lowered  a  trifle,  a  little  music,  and 
a  spirit  picture  is  slowly  precipitated  upon  the  cloth  in  colors,  this 
being  visible  to  every  one  present. 

Secret:— For  this  experiment  procure  the  following  ingredi- 
ents from  some  druggist:  "Sulphate  of  Iron,"  for  blue;  "Nitrate 
Bismuth,"  for  yellow;  "Sulphate  Coppa,"  for  brown;  make  solutions 
seperately  of  each,  by  dissolving  a  small  quantity  of  each  ingredient 
in  warm  water.  Now  make  a  solution  of  "Prussiate  of  Potash," 
and  put  it  in  bottle  of  Atomizer.  Now  with  a  brush  for  each  color, 
make  a  picture,  landscape,  portrait  or  anything  you  desire,  on  a 
screen  of  unbleached  muslin,  when  dry  these  are  invisible.  Show 
the  screen  and  set  it  on  an  easel  in  front  of  cabinet,  now  slightly 
dampen  muslin  and  place  a  lamp  back  of  it  on  a  chair,  lower  lights 
a  trifle;  your  assistant  or  medium  in  cabinet  takes  the  atomizer, 
and  from  behind  sprays  all  over  the  back  of  screen  with  the  solution 
of  prussiate  potash,  which  slowly  brings  colors  out.  Effect  is  wierd 
and,  although,  perhaps  not  artistic,  it  is  a  novelty  and  is  apparently 
done  by  unseen  agency.  Light  being  placed  at  back  of  screen,  audi- 
ence can  see  that  no  one  approaches  screen.  A  little  music  covers 
sound  of  atomizer.  Always  see  that  the  atomizer  is  screwed  up 
air  tight  before  using  it. 

KELLAR'S  NEW  KARMOS:- 

Effect:— On  the  stage  is  seen  a  platform  with  four  feet.  On 
this  stands  an  ordinary  looking  chair.  The  lady  sits  down  on  the 
chair  facing  the  audience,  and  is  securely  blindfolded  by  the  perfor- 
mer, who  then  makes  some  magnetic  passes  over  her.  He  then 
passes  an  unprepared  pack  of  cards  out  for  examination  and  has 
them  shuffled.    Going  back  to  the  stage,  he  stands  behind  a  small 


22  SHAW'S  MAGICAL  INSTRUCTOR. 

table,  and  holding  the  cards  so  that  their  face  is  turned  towards 
the  audience,  he  draws  off  one  card  after  the  other  and  throws  it  on 
the  table,  the  lady  naming  each  card  as  soon  as  it  becomes  visible. 
For  the  next  test  he  borrows  a  banknote  and  with  it  walks  to 
a  blackboard  on  the  stage;  the  lady  dictates  to  him  the  value  and 
the  number  of  the  banknote,  he  writing  it  down  on  the  blackboard. 
He  also  borrows  a  check  and  the  lady  states  at  what  bank  it  is  pay- 
able, who  made  out  the  check,  who  is  its  owner,  what  the  amount 
is,  etc.  A  spectator  next  chooses  a  word  out  of  an  unabridged  dic- 
tionary and  asks  the  lady  what  the  word  is  and  she  instantly  tells 
him  and  describes  the  word.  Another  spectator  writes  a  couple  of 
numbers  on  a  blackboard,  brought  down  in  the  audience  by  the 
performer;  the  lady  instantly  squares  and  even  cubes  the  number. 
For  the  final  test  some  one  writes  four  rows  of  figures  on  the  black- 
board, each  row  containing  four  figures.  The  lady  audibly  adds 
the  numbers  and  dictates  the  result  to  the  performer,  who  then 
carries  the  blackboard  way  to  the  front  cf  the  stage  and  she  now 
adds  the  rows  in  any  manner  desired,  that  is,  from  right  to  left,  up 
and  down,  etc.  She  also  mentions  any  number  struck  out  or  touch- 
ed by  the  performer. 

The  secret  of  this  seemingly  remarkable  performance  is  a  very 
simple  one.  Everything  that  the  performer  does  is  seen  by  an  as- 
sistant behind  the  scenes,  who  tells  the  lady  what  to  say  by  means 
of  an  invisible  speaking  tube,  which  consists  of  a  rubber  hose,  pass- 
ing from  behind  the  wings,  underneath  the  floor  up  to  the  platform, 
the  rear  leg  of  which  is  hollow.  There  is  a  small  opening  here  on 
which  the  rear  leg  of  the  chair,  which  is  also  hollow  rests.  The 
chair  used  is  a  cane  seat  one,  of  the  kind  known  as  "Vienna  Bent 
Wood  Chairs.  The  rear  leg  of  chair  is  hollow,  also  part  of  the  seat 
of  chair,  also  spindle  in  back  of  chair  where  connection  is  made. 
The  lady  who  enters  from  the  rear  does  not  show  the  back  of  her 
dress,  on  which  is  fastened  another  tube,  leading  up  to  her  ear  and 
hidden  by  her  hair,  which  hangs  down  loosely.  Under  cover  of 
making  passes  over  her  the  performer  connects  the  tube  on  her  back 
with  the  crosspiece  in  back  of  chair,  thus  completing  the  connect- 
ion. Anything  spoken  by  the  assistant  into  his  end  of  the  tube, 
which  has  a  mouth  piece  there,  is  heard  distinctly  by  the  lady.  The 
rest  is  easy.  The  assistant  sees  the  faces  of  the  playing  cards  and 
tells  them  to  the  lady  who  calls  them  off.  The  performer  holds 
the  banknote  in  such  a  manner  against  the  blackboard,  which  is 
turned  slightly  sideways,  that  the  assistant  can  read  its  number 


SHAW'S  MAGICAL  INSTRUCTOR. 


and  value  by  means  of  a  spy  glass,  same  with  the  check.  In  the 
dictionary  test,  the  performer  requests  the  gentleman  to  ask  the 
lady  what  the  10th  word  on  the  35th  page  is.  The  assistant  who 
has  a  duplicate  dictionary,  hears  this,  looks  the  word  up  and  tells  it 
to  the  lady.  The  squaring  and  cubing  of  two  figures  is  done  by 
means  of  assistant  refering  to  a  table  of  numbers,  already  squared 
and  cubed  before  the  trick,  the  table  including  all  numbers  from 
1  to  100.  The  adding  of  four  rows  of  figures  will  be  easily  under- 
stood now.  Meanwhile  the  assistant  copies  the  four  rows  and  the 
performer  now  moves  the  blackboard  to  the  front  of  the  stage,  thus 
bringing  it  out  of  the  assistant's  range  of  vision;  but  as  the  assist- 
ant has  copied  the  figures,  he  can  tell  the  lady  what  the  result  of 
adding  the  first  row  comes  to  and  any  other  question  pertaining  to 
the  figures.  The  trick  of  the  lady  telling  any  figure  touched  by  the 
performer  is  one  of  prearrangement,  the  lady  and  performer  having 
learnt  by  heart  a  number  of  figures,  which  are  touched  and  called 
off  by  the  lady  in  their  regular  order.  The  performer  then  makes 
some  more  passes  over  the  lady,  under  cover  of  which  he  disconnects 
the  speaking  tube  and  then  removes  the  blindfold  from  her  eyes. 
She  bows  and  leaves  the  stage  but  does  not  show  her  back. 

THE  CHAMELEON  HANDKERCHIEFS:- 

Three  silk  handkerchiefs  perfectly  white,  are  given  for  exam- 
ination; also  a  small  sheet  of  paper,  all  of  which  is  found  to  be  free 
from  deception.  The  paper  is  then  rolled  up  in  the  form  of  a  tube, 
the  three  handkerchiefs  pushed  in  one  at  a  time,  a  few  "passes" 
and  the  paper  unrolled,  when  the  handkerchiefs  will  be  found  to 
have  changed  to  red,  yellow  and  blue. 

Secret:— For  this  trick  you  have  a  tin  tube  3  inches  long  H 
inch  in  diameter;  also  a  piece  of  white  paper  8  inches  square,  and 
six  handkerchiefs;  three  white,  one  red,  one  yellow,  and  one  blue. 
The  three  white  handkerchiefs  are  laying  on  your  table,  also  the 
paper  for  cone.  Under  paper  have  the  tube  prepared  as  follows: 
Cover  the  tin  tube  with  one  end  of  the  red  handkerchief,  and  sew 
it  nicely,  so  that  when  you  take  the  red  handkerchief  out  of  paper 
cone,  the  tube  hangs  behind  the  handkerchief.  You  tuck  the  red 
handkerchief  into  tube  first,  then  the  yellow  one,  then  the  blue 
one,  and  all  is  ready.  To  perform,  show  the  three  white  handker- 
chiefs one  at  a  time,  to  prove  that  they  are  unprepared;  then  lay 
them  on  your  table  and  take  up  the  paper.  The  three  white  hand- 
kerchiefs conceal  the  tube  that  was  under  paper.    Show  paper  and 


24  SHAWNS  MAGICAL  INSTRUCTOR. 

roll  into  a  cylinder,  then  take  up.  a  white  handkerchief  at  same 
time  the  tube  containing  the  colored  handkerchiefs,  which  is  not 
noticed  by  audience  as  it  is  concealed  by  white  handkerchief.  Get 
the  tube  into  the  paper  cylinder  behind  white  handkerchief,  in  the 
act  of  pushing  in  the  white  handkerchief.  As  it  is  pushed  in,  out 
comes  the  blue  handkerchief.  Next  push  in  second  white  handker- 
chief and  out  comes  the  yellow  handkerchief,  then  push  in  the  last 
white  handkerchief  and  out  comes  the  red  handkerchief,  allowing 
it  to  hang  over  the  paper  cylinder,  then  catch  it  near  top  of  cylinder 
and  pull  it  out,  tube  and  three  white  handkerchiefs  are  drawn  out  as 
the  tube  is  sewed  to  red  handkerchief,  lay  it  on  table,  no  one  sus- 
pecting the  red  handkerchief  contains  a  tube  and  three  white  hand- 
kerchiefs, now  open  paper  and  show  it  is  empty.  Another  method 
of  loading  tube  into  cylinder  is  as  follows:  Have  a  fine  wire  loop 
attached  to  one  end  of  tube,  and  concealing  tube  under  vest  at 
bosom,  allowing  loop  to  hang  out.  In  the  act  of  showing  the  paper 
(which  you  hold  in  both  hands),  catch  thumb  of  left  hand,  into  loop, 
and  as  you  start  to  convert  paper  into  cylinder,  secretly  pull  tube 
into  same.  And  still  another  method  is  to  have  tube  concealed  on 
back  of  chair,  and  when  you  show  white  handkerchiefs,  throw  them 
over  back  of  chair,  then  show  paper  and  make  it  into  cylinder, 
taking  up  one  of  the  white  handkerchiefs  you  secretly  take  tube 
with  it  and  push  into  cylinder,  etc. 

THE  MYSTEEY  OF  L'HASSA:- 

Effect: — Performer  comes  forward  and,  picking  up  two  tres- 
tles which  are  on  the  stage,  he  walks  to  footlights  to  show  that  the 
trestles  are  unprepared;  he  places  the  trestles  in  center  of  stage 
about  six  foot  apart.  Next  he  places  a  board  on  the  trestles  and 
introduces  a  young  lady,  and  after  making  some  hypnotic  passes 
over  her,  picks  her  up  and  places  her  on  the  board  on  trestles.  He 
now  removes  the  two  trestles  from  under  board  and,  to  the  aston- 
ishment of  the  audience,  the  board  with  lady  on  it  is  seen  floating 
in  space. 

Secret:— There  is  a  curtain  hanging  at  back  of  stage,  it  is  of  a 
striped  pattern,  lines  running  up  and  down  (dark  lines  on  light 
back  ground).  The  two  trestles  we  will  call  No.  1,  and  No.  2.  Pick 
up  No.  2  first,  swing  it  around,  then  do  the  same  with  No.  1;  then 
place  them  in  center  of  stage,  (well  back),  just  far  enough  apart  to 
allow  board  to  rest  on  them.  No.  1  trestle  is  unprepared,  but  No.  2 
has  a  wire  fastened  to  it.  The  end  of  wire  is  made  into  a  loop  and 
this  loop  goes  around  two  nails,  one  in  each  end  of  trestle.     The 


SHAw's  MAGICAL  INSTRUCTOR.  25 

wire  does  not  show  as  the  back  ground  conceals  it,  as  it  is  a  striped 
pattern.  The  end  of  wire  goes  to  top  of  stage.  Now  show  the 
board  (which  is  a  foot  and  a  half  longer  than  the  lady  used  in  the 
illusion),  and  lay  it  across  the  trestles,  getting  end  in  loop  of  wire  on 
trestle,  take  a  long  stick  and  wave  it  all  around,  over  and  under 
board,  but  you  must  guard  against  hitting  wire  on  end  of  board. 
Now  introduce  the  lady  and,  apparently  hypnotize  her,  then  pick  her 
up  in  your  arms  and  lay  her  on  the  board,  (feet  towards  trestle  No.  2). 
Assistant  now  brings  in  a  leather  pillow  from  side  of  stage  to  which 
is  fastened  second  wire,  running  to  top  of  stage;  the  pillow  is  placed 
under  the  lady's  head,  at  the  same  time  get  wire  under  the  board. 
Now  remove  trestle  No.  1,  then  trestle  No.  2,  and  lady  lays  floating 
in  space  on  the  board  and  front  curtain  is  dropped. 

An  improvement  can  be  made  on  the  above  by  having  the 
board  drop  to  the  floor  when  you  remove  trestles.  In  order  to  do 
this  it  is  necessary  for  the  lady  to  wear  a  sheet-iron  band  over  her 
shoulders,  under  dress;  also  a  sheet-iron  band  around  the  calf  of 
each  leg,  under  stockings.  These  iron  bands  are  to  protect  lady 
from  being  cut  by  wires,  as  one  wire  in  this  method  is  placed  around 
lady's  shoulders,  when  placing  pillow  under  her  head,  and  the  other 
wire  is  placed  under  her  legs  when  placing  her  on  the  board.  Lady 
must  make  herself  very  stiff,  so  that  when  trestles  and  board  are 
removed  she  will  lay  straight  in  space. 

SHRINE  OF  KOOMRA  SAMI:- 

Effect: — A  large  cage  containing  a  small  one  is  seen  on  stage. 
A  person  is  placed  in  small  cage,  when  he  instantly  multiplies  into 
three  distinct  beings,  i.  e.,  his  double,  his  astral  being  and  himself. 

Secret:— The  large  cage  is  six  foot  high  and  three  and  one-half 
foot  square,  standing  on  four  small  legs  with  castors.  Small  cage 
is  in  center  of  large  cage,  and  is  twenty  inches  square  and  same 
height  as  large  cage.  Both  cages  have  bars  on  all  sides  running 
from  bottom  to  top.  The  large  cage  has  red  curtains  in  front  and 
on  both  sides,  all  work  on  spring  rollers.  The  background  of  stage 
is  dark  green,  and  the  large  cage  has  a  curtain  at  back  of  same 
material;  behind  this  curtain  are  concealed  gentleman  and  lady. 
When  performer  places  the  man  in  small  cage,  he  pulls  down  red 
curtains  in  front  and  sides  of  large  cage,  gentleman  and  lady  now  let 
green  curtain  at  back  fly  up,  move  two  or  three  bars  aside,  and  step 
into  cage  replacing  bars.  [This  must  be  done  quickly].  Performer 
quickly  lets  red  curtains  fly  up,  opens  door  of  cage,  and  out  step 
the  three  persons.    If  you  wish  you  can  have  green  curtain  on  back 


26 


shaVs  magical  instructor. 


of  cage  painted  with  black  stripes  to  represent  the  bars  of  cage,  in 
this  case  you  do  away  with  bars  at  back  of  large  cage,  but  you  can- 
not turn  cage  around  after  trick,  as  you  can  do  by  using  bars. 

THE  GLASS  BOWL  AND  GOLDEN  STAND:- 

This  is  a  beautiful  stage  trick  and  a  fine  finish  to  the  Aerial 
Treasury.  Performer  exhibits  a  light  brass  stand  and  a  glass  bowl 
or  vase,  having  shown  the  vase  empty  he  places  it  on  the  stand,  and 
standing  some  distance  away  he  invisably  passes  a  number  of  coins 
into  the  vase. 

Secret: — The  top  of  table  is  thin  sheet  brass  with  edge  turned 
down  about  one  quarter  of  an  inch.  The  supports  are  three  semi- 
circular strips  of  brass  H  inch  wide  and  ±  inch  thick,  resting  upon 
a  column  with  three 
feet,,  as  shown  In  fig  8. 
The  stand  is  of  ordinary 
height  with  a  20  inch 
top.  The  top  has  a  slot 
at  one  side  over  support 
the  half  dollars  are  pla- 
ced in  this  slot  and  lay 
as  far  as  "B"  in  fig.  8, 
B  to  C  is  a  tongue,  C  to 
D  is  a  spring  to  force 
half  dollars  up,  (spring 
is  wire  bent  zig-zag): 
tongue  is  brass,  made 
to  fit  support  and  has 
a  hole  in  the  center. 
The  upper  end  of  piston 
passes  through  hole  in 
tongue.    E— E  in  fig.  9,  [Fig.  8.]  [Fig.  9.] 

is  piston,  "F"  is  half  dollars,  "X"  is  spring.  A  strong-black  thread 
is  attached  to  lower  end  of  piston  to  pull  at  the  proper  time.  To 
prepare,  push  half  dollars  into  slot,  then  piston  through  hole  in 
tongue.  By  pulling  thread  spring  forces  half  dollars  up  and  they 
drop  into  bowl,  which  is  on  center  of  stand.  Care  must  betaken  to 
get  the  correct  circle  of  support  and  proper  strength  of  spring. 

THE  CRYSTAL  CHEST  OF  THE  GENI:- 

Effect: — A  person  (male  or  female),  can  be  securely  locked  in 
the  "Crystal  Chest;"  then  the  "Chest"   is  corded  all  over  by  the 


SHAW'S  MAGICAL  INSTRUCTOR. 


27 


company,  seals  being  placed  by  them  upon  every  knot.  A  small 
screen  is  placed  before  the  "Chest,"  when  the  person  "locked  and 
circled  inside  the  Chest"  appears  outside  the  "Chest"  in  less  than 
half  a  minute.  Then  the  company  can  freely  and  minutely  examine 
every  part  of  the  "Chest"  to  find  it  securely  locked,  the  ropes  and 
knots  secure,  and  every  seal  perfect. 


K 

— i 

END  OF 
BOX 

DUO 


[Fig.  10.] 
Secret:— The  trick  lies  in  the  construction  of  the  ends  of  the 
Chest.  The  ends  are  double,  that  is,  the  frame  of  wood  divides, 
half  is  firmly  fastened  to  Chest,  (out  side);  the  other  half  works  on  a 
hinge  inside  of  chest.  See  fig.  10,  "A"  is  solid  to  chest,  "B"  is  glass 
"C"  is  frame  inside  of  chest  to  which  glass  is  fastened,  this  frame 
works  on  a  hinge  at  bottom  and  fits  so  snugly  against  outside  frame 
that  it  is  impossible  to  detect  that  it  is  not  a  solid  frame.  Near 
the  edge  of  this  frame  that  holds  glass  is  a  spring  bolt,  (between 
the  glass  and  frame);  directly  under  the  bolt  is  a  narrow  opening 
about  one-sixteenth  of  an  inch  wide  and  two  inches  long.  To  get 
out  of  "Chest  all  you  have  to  do  is  to  pass  a  small  flat  hook  of  steel 
between  glass  and  inside  frame  and  pull  out  bolt,  when  door  can  be 
pulled  inside,  assistant  crawls  over  glass  and  closes  door,  the  spring 
bolt  catching  in  top  and  holding  it  in  place. 

NEW  UMBRELLA  AND  HANDKERCHIEFS  TRICK:- 

Performer  borrows  half  a  dozen  handkerchiefs  and  wraps 
them  up  in  a  newspaper  and  lays  parcel  on  table.  He  shows  a  para- 
sol and  places  it  in  a  cylinderical  tube  made  out  of  cardboard,  just 
large  enough  to  hold  parasol.  Tube  is  unprepared.  He  now  asks 
some  gentleman  to  come  up  on  stage  and  assist  him.  Performer 
proceeds  to  load  blunderbuss  and  gives  it  to  gentleman  to  hold.  He 
stands  with  gentleman  close  to  right  wing  while  showing  him  a 
certain  spot  at  left  wing  to  fire  at.  The  performer  at  same  time  is 
holding  tube  containing  parasol  in  his  hand,  gentleman  fires,  par- 


28  SHAW'S  MAGICAL  INSTRUCTOR. 

eel  on  table  is  opened  and  found  to  contain  cover  of  parasol;  para 
sol  taken  out  of  tube,  held  by  performer,  and  is  found  to  be  minus 
cover  and  one  of  the  handkerchiefs  is  hanging  to  each  rib.  Hand- 
kerchiefs are  taken  off  and  returned  to  their  owners. 

Explanation:— Performer  first  exchanges  parcel  containing 
the  handkerchiefs  for  parcel  containing  parasol  cover  on  servante 
of  table  or  chair.  They  are  immediately  removed  from  there  by 
assistant  who,  behind  scenes,  ties  each  handkerchief  to  ribs  of  a 
duplicate  parasol  without  cover.  While  performer  and  gentleman 
stand  by  right  wing,  performer  lets  one  end  of  tube  that  he  is  hold- 
ing just  rest  a  little  behind  wing,  assistant  sneaks  up  and  deftly 
removes  parasol  from  tube,  inserting  the  fixed  one  instead,  this  is 
done  while  performer  indicates  to  gentleman  at  which  point  to  fire, 
then  pistol  is  fired  and  the  changes  are  discovered  as  described 
above.  The  parasol  without  cover  and  the  cover  may  be  restored 
to  their  previous  state,  by  wrapping  both  in  paper  and  exchange 
them  for  another  parasol  already  wrapped  on  servante.  They  are 
wrapped  twice  for  this  purpose,  the  change  is  made  while  wrapping 
in  second  sheet  of  paper. 

MYSTERIOUS  TRANSMISSION  OF  THOUGHT:- 

The  principle  and  details  of  this  code  are  easily  acquired  and 
are  fully  described,  so  that  they  may  be  more  readily  understood; 
there  being  not  any  elaborate  codes  to  learn,  it  will  be  seen  that 
this  method  does  not  require  so  much  application  and  practice  as 
systems  in  which  certain  '"codes  and  signals"  have  to  be  memorized. 
By  means  of  this  code  all  the  usual  effects  usually  exhibited  at 
Thought  Reading  Seances  can  be  reproduced;  the  medium  being 
completely  blindfolded  and  if  necessary  surrounded  by  the  audience 
not  being  eonnected  to  the  performer  in  any  manner,  and  he  does 
not  make  any  queries  to  the  medium,  or  need  not  alter  his  position 
if  necessary.  This  system  is  an  entirely  new  idea  and  not  employed 
in  any  other  codes,  it  is  by  no  means  difficult  to  learn.  It  consists 
in  both  the  medium  and  the  performer  counting  "mentally"  and 
"together."  It  is  a  known  fact  that,  say  the  beats  for  "common 
time"  are  always  the  same  in  music,  .thref  ore,  with  a  little  practice 
it  is  easy  for  two  persons  starting  on  a  given  signal,  to  count  at  a 
given  and  the  same  rate,  and  when  another  signal  is  given  to  stop 
and,  of  course  they  will  both  have  arrived  at  the  same  number. 
This  is  the  actual  method  employed  in  this  code  and  from  it  you 
will  see  that  any  number,  from  0  to  9  can  be  transmitted  by  the 
performer  to  the  medium,  which  of  course  is  all  that  is  required. 


SHAW'S  MAGICAL  INSTRUCTOR.  29 

It  is  best  to  experiment  and  find  out  what  rate  of  counting 
suits  the  persons  employing  this  code  best,  but  the  following  sug- 
gestions are  offered:— It  may  be  best  perhaps  to  commence  counting 
at  a  slow  rate  and  then  gradually  increase  the  rate  until  you  find  it 
advisable  to  go  no  quicker,  and  then  adhere  to  one  rate  and  always 
keep  to  it.  Say  you  have  in  the  room  when  first  practicing  a  loud 
ticking  clock  with  a  fairly  slow  beat,  on  the  given  signal  you  both 
start  counting  at  the  same  rate  as  the  beats  of  the  clock,  of  course 
the  clock  must  be  removed  when  the  rate  has  been  well  learnt;  or 
count  at  the  rate  of  "Common  Time"  in  Music,  viz:  1  &  2  &  3  &  4  &c, 
or  practice  with  "Metromon,"  such  as  is  used  during  "piano  prac- 
tice" for  the  purpose  of  setting  time  and  is  of  course  made  adjusta- 
ble. A  very  good  rate  to  finally  adopt  is  a  little  shorter  than  a 
second  of  time  about  70  to  75  per  minute.  Whatever  rate  is  found 
to  suit  best  must  be  adhered  to.  You  will  find  that  at  the  rate 
above  mentioned  any  number  up  to  "9"  can  be  transmitted  with 
absolute  certainty,  after  an  hour  or  so  at  practice. 

Now  that  the  principal  has  been  explained  the  next  item  is 
the  signals  to  be  transmitted,  to  give  medium  the  cue  when  to  start 
and  when  to  stop  counting  mentally.  It  is  done  in  this  way:  Say 
the  performer  has  borrowed  a  coin  the  date  of  which  is  1862,  the 
first  figures  of  the  coin  1  and  8  are  generally  understood  as  most 
coins  now  in  use  are  18  something,  or  if  of  other  date  than  18  in  the 
hundreds,  the  performer  must  advise  the  medium  of  this,  by  means 
of  a  wording  of  reply  to  the  person  who  lent  the  coin  which  can 
easily  be  arranged  to  suit  ones  fancies,  The  6  and  2  have  therefore 
to  be  transmitted.  The  performer  stands  away  from  medium  or 
amongst  audience  if  only  a  small  one,  the  medium  being  on  stage 
and  securely  blindfolded,  performer  takes  his  position,  with  chalk 
in  hand  in  front  of  board,  and  holds  coin  in  other  hand;  he  does  not 
speak  a  word  but  simply  looks  at  coin,  after  a  pause,  the  medium 
calls  out:— The  first  figure  I  picture  is  a  "one"  or  words  to  that 
effect.  Now  "immediately"  the  lady  stops  speaking  they  both  com- 
mence the  mental  counting,  at  the  rate  previously  agreed  upon  by 
practice.  In  this  case  the  number  to  be  transmitted  is  6,  as  the  last 
word  of  the  sentence  is  spoken  they  therefore  commence  counting 
internally  1-2-3-4-5-6,  during  this  short  period  the  performer  glances 
down  on  the  coin  as  if  to  verify  what  the  lady  has  called  out,  as 
soon  as  they  reach  the  figure  "6"  the  signal  to  "stop"  has  to  be 
transmitted;  this  is  done  by  the  performer  putting  down  on  the 
blackboard  sharply  the  figure  called  out  by  the  lady  viz  1.     It  will 


30  SHAW'S  MAGICAL  INSTRUCTOR. 

9 

be  seen  by  this  method  that  the  signal  is  quite  easy  to  transmit, 
and  it  is  perfectly  natural  to  put  down  the  figure  on  the  board 
quickly  and  sharply.  The  third  figure  of  the  coin  is  now  known  to 
the  medium.  The  last  figure  2  is  transmitted  in  the  same  manner 
as  the  previous  figure.  The  lady  says— "the  second  figure  I  see  is  8" 
as  soon  as  she  ceases  speaking  they  commence  the  counting  again, 
1-2,  on  the  arrival  at  the  figure  "2"  the  performer  puts  down  the  8 
previously  called  out,  sharply  on  the  board,  which  is  the  signal  for 
stop;  the  lady  now  knows  the  full  date  of  the  coin. 

Banknote  Test:— The  performer  having  brought  on  an  ordina- 
ry blacboard  and  a  piece  of  chalk,  says  that  the  lady  will  now  tell 
the  value  and  number  of  a  banknote  borrowed  from  an  entire  stran- 
ger, by  the  performer.  He  states  that  the  lady  does  not  see  the 
number  of  the  note  in  the  right  order,  and  that  he  will  therefore 
make  divisions  on  the  blackboard  for  the  numbers.  Supposing  she 
sees  a  3  first,  she  would  cry  out,  I  see  three  and  it  belongs  in  the 
second  place,  and  so  on  till  the  whole  number  had  been  called  off. 
He  also  states  that  first  she  will  call  off  the  value  of  the  note.  Per- 
former now  borrows  a  banknote,  remarking  that  he  usually  returns 
it;  we  will  suppose  he  is  handed  a  five  dollar  bill,  number  00481;  he 
takes  it  back  to  the  stage  and  on  the  way  there  he  looks  at  its  value 
when  the  lady  hears  that  he  has  returned,  she  raises  her  hand  to 
her  head  as  if  in  thought  at  the  same  moment  that  her  hand  starts 
to  move,  both  performers  ccunt  in  second  time,  1-2-5- 10-50-100  etc., 
at  the  third  beat  i.  e.,  5,  performer  gives  a  sigh,  the  lady  then  waits 
a  moment  and  says,  "it  is  a  five  dollar  bill,"  while  she  does  this  the 
performer  has  looked  at  the  third  figure  of  the  note,  as  it  is  under- 
stood between  them  that  she  should  first  call  out  the  third  figure, 
which  in  our  case  is  number  "4."  [It  should  have  been  mentioned 
before,  that  in  "banknote"  and  "blackboard"  tests  the  following 
order  must  be  learnt  by  both  performers,  previous  to  the  perfor- 
mance, 1-4-5-3-2,  so  that  now  when  the  lady  has  got  to  the  five  dol- 
lars as  mentioned  above,  both  begin  to  count  1-4,  in  second  time. 
In  the  second  beat  i.  e.  4,  performer  will  stop  lady  from  counting 
any  further  by  slowly  writing  down  $5.  lady  knows  now  that  the 
next  number  is  a  "4"  she  however  waits  a  moment  and  then  ex- 
claims, "I  see  a  4,  and  it  occupies  the  'third  place;"  as  soon  as  the 
word  "place"  is  said  both  again  begin  to  count.  Now  the  figure  in 
the  first  place  is  to  be  called  off  next,  according  to  the  prearranged 
order;  this  order  is  supposed  to  be  3rd,  1st,  2nd,  4th,  5th,  6th;  of 
course  any  other  order  will  do  as  long  as  both  know  it  beforehand. 


SHAW'S  MAGICAL  INSTRUCTOR.  31 

Now  "0"  is  the  same  as  10  for  this  test,  for  when  a  number  is  not  in 
the  formula  1,  4,  5,  3,  2;  you  must  take  the  number  to  which,  when 
five  is  added  to  it,  makes  the  number  you  desire.  For  instance,  for 
7  take  2  &  5  -7;  for  6,  1  &  5  -6;  for  10  5  &  5  -10;  so  the  third  beat  will 
be  the  one  on  which  the  performer  will  write  down  the  4  just  called, 
immediately  that  lady  has  said  place,  both  begin  to  count  1,  4,  5; 
and  on  the  "5"  performer  will  write  down  "rather  quickly"  in  the 
third  place  a  "4"  immediately  the  4  is  written  down  lady  knows 
that  the  next  number,  which  according  to  the  above  arrangement 
occupies  the  "first"  place,  must  be  an  "0"  but  she  allows  a  second  or 
two  to  elapse  before  calling  it  out,  by  this,  giving  performer  time  to 
look  at  the  note  for  the  next  figure.  By  putting  down  a  previous 
number  rapidly  lady  knows  that  she  has  to  add  5  to  the  number  just 
communicated  to  her,  which  occupies  the  second  place  and  so  that 
he  is  ready  to  begin  counting  immediately  she  has  finished  her  sen- 
tence, then  she  calls  out,  I  see  an  "0"  and  it  occupies  first  place; 
immediately  she  has  said  place,  both  count  for  the  "0"  in  the  second 
place,  -1,  4,  5,  on  the  "five  performer  rather  quickly  writes  down 
the  "0"  in  the  first  place;  after  a  moment  or  so  the  lady  says  I  see 
another  "0"  and  it  occupies  the  second  place;  immediately  on  the 
word  "place,"  both  count  for  the  "8"  1,  4,  5,  3,  on  the  beat  for  3,  the 
performer  "rather  quickly"  (by  this  communicating  to  her  that  she 
has  to  add  five  to  the  communicated  number  3),  writes  down  an  "0" 
in  the  second  place;  then  after  a  moment  or  so,  the  lady  exclaims! 
"The  next  figure  I  see  is  an  "8"  and  it  occupies  the  fourth  place,  at 
the  word  "place"  the  performer  "deliberately"  writes  down  an  "8" 
in  the  fourth  place  and  the  lady  calls  out  "I  see  a  "1"  and  it  belongs 
in  the  fifth  place."  She  would  go  on  counting  to  herself  as  she 
would  not  know  whether  there  were  some  more  figures  or  not,  but 
the  performer  would  next  refer  to  the  number  being  alright  and  she 
would  know  that  it  was  all  over.    $5.    (00481.) 

I  will  now  describe  a  mode  of  transmitting  the  letter  which 
"always"  precedes  the  number  on  a  banknote,  and  the  mark  that 
follows  the  number  for  example,  B. -185932.  These  letters  go  all 
through  the  alphabet  (26  letters),  although  they  are  seldom  found 
beyond  N.    Divide  your  letters  into  divisions  as  follows: 

1.  A.  B.  C— 2.  D.  E.  F.—  3.  G.  H.  I.— 4.  J.  K.  L.— 5.  M.  N.  O.— 
6.  P.  Q.  E.— 7.   S.   T.  U.— 8.   V.   W.  X.— 9.  Y.  Z. 

You  can  remember  this  by  this  little  memory  sentence. 
"All  dear  girls  just  make  pies  so  very  young."  (Or  any  other  that 
suits  you).    This  gives  you  the  first  letters  of  the  three.  Now  when 


32  SHAW'S  MAGICAL  INSTRUCTOR. 

you  have  transmitted  to  the  lady  the  value  of  the  bill,  and  she 
names  the  value,  you  do  not  count  but  mentally  repeat  the  above 
sentence.  For  example:  If  the  letter  is  a  "G"  you  say  to  yourself 
and  simultaneously  does  the  lady.  All-dear-girls  and  as  you  arrive 
at  "G"  you  make  the  $  mark  on  the  board.  The  lady  knows  then 
it  is  either  G-H  or  I.  When  yon  have  made  the  "S"  part  of  it  stop 
one-quarter  of  a  second,  and  then  make  two  strokes  ||  either  quick 
or  slow.  If  "quick"  it  is  the  first  letter,  if  "slow"  the  second;  but 
if  you  make  the  first  stroke  "slow"  and  the  second  "quick,"  it  is 
the  third  letter.  Thus  in  the  case  of  "G"  write  both  strokes  quick. 
In  case  of  the  letter  being  an  "N"  you  count  5  or,  (All-dear-girls- 
just-make),  and  then  write  "S"  stop  one-quarter  of  a  second  and 
then  complete  the  $  very  slow  and  deliberately.  The  mark  after 
number  is  indicated  as  follows:  When  you  come  to  the  last  figure 
on  the  board,  the  lady  says  it  is  a  "so  and  so,"  (say  8),  as  you  write 
"8"  make  a  period  after  it,  the  lady  can  hear  distinctly  and  knows 
there  are  no  further  figures,  so  she  says  "now  make  a  mark  behind 
it,"  you  copy  the  mark  which  is  either  like  an  F  without  a  top 
or  like  an  E,  or  star  *  or  an  angle.  If  you  will  practice  a  little 
you  will  find  that  if  the  lady  listens,  she  can  easily  discern  which 
one  of  these  marks  you  are  putting  down.  For  example:-  The 
star  is  made  in  three  strokes  of  the  chalk  while  all  the  others 
only  need  two  strokes,  so  when  she  hears  three  strokes  she  knows 
it  to  be  a  star,  and  the  chalk  makes  an  entirely  distinct  noise  in 
writing.  It  is  a  good  point  if  the  lady  says,  "after  you  have  made 
the  mark,"  I  don't  know  what  you  would  call  it  but  it  looks  like 
an  old  fashioned  E,  or  it  seems  to  be  a  Roman  F  without  a  top, 
etc.,  etc. 

Blackboard  Work:— The  performer  asks  any  member  of  the 
audience  to  put  down  upon  the  blackboard  four  or  five  rows  of 
figures,  usually  composed  of  about  five  figures  in  each  row;  while 
this  is  being  done  the  performer  informs  the  audience  that  he  shall 
transmit  the  total  of  the  columns  of  the  figures  now  being  put 
down,  to  the  medium.  The  sum  having  been  put  down  on  the 
board,  say  something  like  the  following: 

7234  The  performer  takes  a  glance  at  the  first  row  and 

8679  quickly  adds  it  up  mentally,  so  as  to  arrive  at  the  first  to- 
320  1  tal  of  the  unit  column,  this  you  will  see  amounts  to  22; 
3795  he  has,  however,  only  to  transmit  the  2,  as  the  amount  to 
6423  be  carried  is  not  necessary  to  be  made  known  to  the  medium 
He  therefore,  now  takes  the  chalk  in  his  hand  and  says 


SHAW'S  MAGICAL  INSTRUCTOR.  33 

audibly  to  the  persons  who  have  written  down  the  figures  "thank 
you;"  the  lady  who  has  been  listening  and  waiting  tor  this  signal, 
as  soon  as  the  performer  ceases  speaking  they  commence  the  mental 
counting  to  the  transmission  of  the  "2"  viz:  1-2.  Immediately  on 
the  repitition  of  the  figure  "2"  the  performer  draws  a  second  line 
under  the  columns  of  figures,  on  the  board  in  this  way: 
7234-  The  sharp  tap  of  the  chalk  on  the  board  at  the  com- 

8679  mencement  of  the  action  of  drawing  the  line,  indicating 
320  1  to  the  lady  to  cease  counting  mentally,  and  to  call  out  the 
3795  figure  that  she  has  mentioned  to  herself  when  she  heard 
6423  the  tap  on  the  board,  which  she  does,  saying  "put  down 
■  v  T  '  under  the  unit  column  the  figure  "2."  The  performer 
glances  at  the  column  as  if  to  verify  what  the  lady  has  called  out  but 
in  reality  to  allow  time  to  transmit  the  total  of  second  column  which 
he  has  added  up  during  the  time  the  lady  was  speaking,  not  forget- 
ting to  add  on  the  "2"  carried  from  first  column.  In  this  case  it 
amounts  to  23,  the  three  has  therefore  to  be  transmitted  as  soon  as 
the  lady  ceases  speaking,  i.  e.  On  the  word  two  as  above,  they  com- 
mence counting  for  the  second  column,  in  this  case  three.  They 
count  1-2-3,  the  performer  then  sharply  puts  down  on  the  board  the 
"2"  first  called  out  by  lady,  which  indicates  the  signal  to  stop,  and 
then  the  lady  knows  that  the  second  figure  is  3  and  calls  out  accord- 
ingly; you  proceed  in  this  way  until  the  whole  of  the  columns  have 
been  added  up.  Two  rows  may  now  be  substracted,  the  result  being 
transmitted  figure  by  figure.  This  test  is  usually  concluded  by  the 
performer  pointing  in  quick  succession  to  any  figure  on  the  board 
which  the  lady  calls  out.  This  is  simply  an  addition  and  is  a  pre- 
arranged order  of  certain  numbers  which  the  performer  picks  out 
from  the  figures  on  the  board,  as  if  it  were  hap-hazard,  but  really 
from  the  order  arranged  beforehand.  What  I  mean  by  a  prearrang- 
ed order  is  to  commit  to  memory  a  set  of  figures,  for  example:  482- 
102-749  053-863-229.  Both  medium  and  performer,  having  memo- 
rized this  set  of  figures,  at  the  conclusion  of  the  foregoing  test  the 
performer  points  to  4,  then  8,  then  2,  then  to  1  and  so  on;  medium 
calling  out  the  figure  as  soon  as  performer  points  to  it.  Of  course 
you  could  learn  a  half  dozen  such  sets  and  thereby  being  able  to 
change  set  when  necessary;  both  having  agreed  upon  what  set  they 
will  use. 

Card  Test:— Have  your  cards  memorized  by  their  numbers: 
Ace-  2-3-4-5-6-7-8-9  10,  Jack  11,  Queen  12,  King  13.  Ask  some 
one  to  select  7  or  8  cards;  (the  more  the  easier).    To  illustrate  the 


34  SHAW'S  MAGICAL  INSTRUCTOR. 

method  we  will  suppose  he  selects  the  "2  of  hearts,"  "3  of  dia- 
monds," "5  of  hearts,"  "7  of  clubs,"  "8  of  spades,"  "10  of  hearts," 
"10  of  clubs,"  "queen  of  diamonds,"  "king  of  diamonds,"  (nine 
cards  in  all);  let  him  lay  them  in  a  row  on  the  edge  of  the  table  (the 
edge  fartherest  away  from  you).  While  he  does  so  take  a  look  at 
them  and  notice  which  is  the  lowest  card,  convey  the  denomination 
(or  value),  of  the  card  according  to  the  following  rule:  "Value"  is 
given  by  laying  down  the  card  last  named;  count  from  the  time  the 
last  word  leaves  the  lady's  lips,  until  the  time  that  the  card  is  laid 
upon  the  table,  the  number  counted  to  be  added  to  the  value  of  the 
card  last  named,  and  if  the  sum  is  over  13  deduct  13  from  it.  Suit 
is  given  by  the  manner  of  picking  up  the  next  card. 

Clubs:— Pick  card  up  sharply  and  quickly,  giving  it  a  kind  of 
a  turn  on  the  table  which  will  make  an  audible  "scratch." 

Diamonds:— Draw  the  card  slowly  over  the  table  toward  your- 
self  before  picking  it  up. 

Hearts:— Make  "thump  as  in  hearts  but  follow  it  up  by  the 
scratch  in  clubs. 

The  "value"  of  the  first  card  cannot,  of  course,  be  given  by 
"laying  down"  the  last  card  named,  nor  can  we  count  from  the 
time  the  last  word  leaves  the  lady's  lips  as  she  has  not  yet  said  any- 
thing, you  say  "thanks"  to  the  person  who  selects  the  cards  and 
then  you  "both"  start  counting,  and  the  figure  to  be  indicated 
make  a  "sigh."  Thus  in  our  example:— Above  the  lowest  card  is 
the  two  of  hearts,  say  "thanks"  and  count  1,  2;  at  "2"  heave  a  sigh, 
or  better  still  breath  hard.  The  "hearts"  you  indicate  by  picking 
up  the  card  with  a  "thump."  Lady  knows  the  first  card,  she  says  it 
and  as  soon  as  the  last  word  leaves  her  lips  count  again.  Now  the 
next  card  in  value  is  "3"  of  diamonds,  but  we  will  skip  this  and  go 
to  the  "5"  of  hearts;  you  do  not  count  5  but  only  3,  (the  last  card 
named),  is  "2"  of  hearts,  2  plus  3—5.  The  heart  is  again  indicated 
by  a  "thump."  Skip  the  "7"  of  clubs,  and  go  to  the  "8"  of  spades, 
the  lady  says  "5"  of  hearts  and  you  both  count,  at  "3"  lay  the  card 
down  with  an  audible  snap;  lady  adds  3  to  5  and  knows  next  card  is 
"8."  The  spades  is  given  with  a  "thump"  and  a  scratch.  Then 
you  can  give  the  "10"  of  hearts,  by  adding  2;  then  the  queen  of  dia- 
monds, by  adding  2;  the  king,  by  adding  1;  (queen  12,  plus  1x13  king). 
Now  you  have  skipped  the  "3"  of  diamonds,  "7"  of  clubs  and  "10" 
of  clubs;  this  was  done  so  that  the  audience  may  not  notice  that 
the  cards  are  given  from  low  to  high.  You  count  3  from  king  (king 
13  plus  3,  but  according  to  rule  you  deduct  13,  leaving  only  3).    For 


SHAW'S  MAGICAL  INSTRUCTOR. 


35 


example:— If  the  last  card  had  been  a  jack,  and  you  wish  to  give 
a  "2,"  you  count  4  (jack  plus  4,  15x13—2).  After  giving  the  "3"  you 
give  the  "7"  of  clubs  by  counting  4,  and  lastly  giving  the  "JO"  of 
clubs  by  counting  "3."  Of  course  always  indicating  the  suit  by 
picking  up  the  card.  All  the  "thumps"  and  "scratches"  and 
"draws,"  are  really  natural  moves,  as  motions  should  not  be  made 
unnatural  by  making  them  to  pronounced;  the  practical  ear  can 
easily  tell  them  apart. 

THE  CASKET  CREMATION:- 

The  performer  carries  with  the  help  of  an  assistant,  the  cas- 
ket down  to  the  foot  lights;  they  open  it  and  turn  it  in  any  shape, 
to  show  it  is  entirely  empty  and  solid  made.  It  is  then  placed 
down  and  two  trestles  are  shown  and  a  long  board,  the  trestles  are 
placed  in  position,  the  board  then  placed  on  them  and  a  decorated 
cloth  is  thrown  over  the  board,  then  the  casket  is  placed  on  this 
stand  The  cloth  and  trestles  have  nothing  to  do  with  the  working 
of  the  trick,  but  everything  depends  on  the  casket,  the  back  of  the 
casket  is  hinged  to  the  bottom,  it  is  held  in  place  by  two  sunken 
bolts,  placed  in  the  cross  (top)  piece  of  the  back  frame;  there  is  a 
small  point  projecting  from  each  bolt  into  the  casket.  When  the 
lady  gets  into  the  casket  and  the  lid  is  placed,  the  lady  presses  down 
on  each  of  the  projecting  points,  thereby  drawing  the  bolts,  then 
pressed  back  against  the  back  which  drops  down  on  its  hinges  and 
is  supported  even  with  the  bottom  of  the  casket  by  the  trestles. 
[The  trestles  must  be  one  third  as  long  as  the  casket  is  wide].      The 

lady  now  rolls  herself  over 
on  to  this  lowered  back. 
You  can  now  pass  the 
swords  through  the  casket; 
(there  are  holes  in  the  bot- 
tom of  the  casket  exactly 
beneath  the  holes  in  the 
top),  the  lady  can  have  a 
sponge  filled  with  some 
red  liquor,  and  can  squeeze 
it  against  each  sword,  as  it 
runs  down  the  blade  and 
drips  on  the  floor,  giving 
the  appearance  of  "blood." 
[Fig.  11.]  Fig.  11  represents  the  back 

dropped  down,  B-B.,  the  supporting  bolts;  the  lid  of  the  casket  is 


36  SHAW'S  MAGICAL,  INSTRUCTOR. 

double,  that  is,  there  is  a  piece  of  wood  one  half  an  inch  smaller 
each  way  than  the  lid,  the  lid  itself  is  one  and  one  half  inches  thick 
and  is  hollowed  out  three  quarters  of  an  inch,  this  false  top  is  cov- 
ered on  one  side  with  tin,  this  tin  has  wires  soldered  over  its  surface 
in  every  direction,  around  these  wires  you  twist  a  little  cotton, 
with  the  cotton  on  it,  it  must  not  be  over  three  quarters  of  an  inch 
thick.  The  other  side  of  this  board  you  finish  the  same  as  the  in- 
side of  the  casket-  You  place  this  piece  in  the  hollowed  out  part  of 
the  lid  which  it  just  fits,  this  is  held  in  position  in  the  lid  by  means 
of  four  small  wire  bolts  which  are  sunk  into  it,  and  covered  with 
the  same  material  that  you  line  the  casket  with,  (thin  black  leather 
is  the  best  lining),  with  the  wire  points  projecting  through  by 
which  the  lady  inside  can  slip  back  the  bolts;  after  the  sword  is 
withdrawn  the  lady  slips  back  these  bolts  thus  releasing  the  piece 
lining  the  lid,  which  drops  down  in  the  casket  and  is  supported  on 
the  lady's  hands  and  one  foot,  the  performer  raises  the  lid  and  lays 
it  back,  then  pours  a  little  spirits  of  wine  over  the  cotton  and  sets 
fire  to  it;  the  lady  must  raise  the  piece  up  nearly  to  the  mouth  of 
the  casket,  which  makes  it  appear  as  if  a  terrible  fire  was  going  on 
within  the  casket.  When  this  burns  out  the  lid  is  closed,  the  lady 
then  replaces  board  in  the  lid,  se- 
cures by  means  of  the  wire  bolts, 
then  rolls  into  the  casket,  pulls  up 
the  back,  secures  it  by  the  bolts, 
then  raps  on  the  lid  as  a  signal  to 
the  performer,  he  then  opens  the 
lid,  lady  gets  out,  the  casket  is  lift- 
ed off  the  trestles  and  shown  as  at  [Fig.  12.] 
first.  Fig.  12  shows  the  lid,  the  dotted  lines,  the  lining  that  drops 
down  A-A-A-A,  the  wire  bolts  B-B,  the  hinges  by  which  the  lid  is 
secured  to  the  casket. 

WATER  ON  THE  BRAIN:- 

This  is  a  fine  finish  to  the  celebrated  Fish  Bowl  Trick.  Two 
vanishing  fish  bowls  with  sunken  tops  are  used  for  this  experiment. 
Have  a  plug  hat  with  trap  door  in  back  of  it,  (door  working  on  a 
hinge  downwards,  out  side);  also  have  a  double  handkerchief  with 
a  circular  piece  of  cardboard  sewed  in  center  between  handkerchiefs. 
ISTow  show  handkerchief  and  produce  bowl  containing  water  and 
fish,  place  same  on  table.  Have  some  gentleman  or  confederate 
come  upon  the  stage,  if  confederate  he  brings  fake  hat  with  him, 
if  gentleman  hand  him  the  hat  to  place  upon  his  head.     "Remark 


SHAW'S  MAGICAL  INSTRUCTOR. 


37 


to  confederate  or  gentleman:— Now  if  you  have  no  objection  I  will 
throw  this  bowl  of  water  at  your  hat  and  knock  it  off :— Oh,  you 
object!  Well  pray  be  seated  and  I  will  merely  stand  this  bowl  upon 
your  hat,  cover  bowl  with  the  fake  handkerchief,  holding  cardboard 
a  little  aloft  with  right  hand  and  while  walking  over  to  gentleman 
spill  all  the  water  off  of  the  top  of  bowl;  carry  forward  and  make 
movement  of  placing  bowl  on  top  of  hat,  under  cover  of  handker- 
chief. In  reality  you  open  trap  at  back  of  hat  and  place  bowl  inside 
of  hat,  whispering  to  gentleman  to  keep  still  it  will  be  alright. 
Leave  handkerchief  on  top  of  hat,  make  fun  of  gentleman's  looks, 
now  remove  handkerchief  and  throw  it  over  your  arm  and  produce 
second  bowl  that  you  had  secreted  about  your  clothes,  this  bowl 
has  no  cover  or  water  on  top;  vanish  this  bowl  into  pocket,  or  on  to 
servante  of  table  by  means  of  handkerchief  or,  "simple  drop;"  lift 
off  gentleman's  hat  and  show  bowl  on  his  head. 

EXCELSIOR  SECOND  SIGHT:- 

The  performer  invites  a  committee  of  five  or  six  persons  upon 
the  stage,  one  of  them  blindfold  him  and  the  performer  will  give 
results  of  examples  placed  upon  a  blackboard,  almost  as  soon  as 
last  figure  is  placed  on  the  board.  Also,  tells  dates  of  coins  held  by 
persons  in  the  audience. 


fr/Wy//////EESE^^ 


[Fig.  13.J 

Explanation: — It  is  necessary  to  have  an  assistant  concealed 

at  left  entrance  of  stage  "front;"  if  curtains  are  used,   small  holes 

should  be  made  in  them,  so  that  the  assistant  can  see  contents  of 

blackboard,  holes  also  should  be  made  in  the  partition,  so  that  he 


38  SHAW'S  MAGICAL.  INSTRUCTOR. 

can  see  the  audience.  The  assistant  does  all  figuring  while  the 
committee  is  writing  down  examples,  and  as  soon  as  he  gets  the  re- 
sults, telegraphs  same  to  performer,  thus:— If  the  result  of  an  ex- 
ample in  addition  should  be  4,763  the  assistant  first  telegraphs  the 
figure  4,  the  performer  calls  out  4  and  requests  committee  to  write 
it  down;  then  the  figure  7,  and  every  other  figure  in  the  same  man- 
ner. The  committee  then  should  be  requested  to  prove  the  exam- 
ple and  of  course  it  will  be  found  correct. 

Directions  for  making  the  Telegraph  Apparatus.  [See  fig.  13.] 
This  apparatus  should  be  nailed  to  the  bottom  of  the  stage  directly 
under  where  the  performer  is  to  sit.  Number  1,  in  fig.  13,  repre- 
sents a  small  iron  rod,  which  passes  through  a  small  hole  in  the 
floor;  the  top  of  the  rod  should  be  made  to  resemble  a  nail  driven  in 
the  floor.  If  carpet  is  used,  the  rod  should  resemble  a  tack.  By 
observing  fig.  13,  you  will  see  that  the  rod  can  be  raised  or  pushed 
a  short  distance  through  the  hole  in  the  floor.  This  is  done  by 
pulling  string,  which  is  No.  3,  in  fig.  13,  and  No.  2,  which  is  a  piece 
of  elastic  or  wire  spring,  pulls  rod  back  even  with  floor  as  soon  as 
the  string  is  slackened.  No.  4,  is  simply  a  boaTd  to  which  all  the 
apparatus  is  fastened.  No.  5,  represents  floor,  and  No.  6,  a  pulley 
or  screw  eye,  through  which  string  passes.  The  string  runs  from 
the  apparatus  under  stage  to  where  assistant  is  concealed,  then  up 
through  a  hole  in  floor  to  where  he  stands.  It  is  necessary  that  the 
performer  should  have  a  hole  cut  in  the  sole  of  one  shoe  "see  fig.  13," 
so  that  when  the  string  is  pulled,  the  rod  will  raise  just  far  enough 
to  touch  the  bottom  of  his  foot.  Thus:— If  the  figure  on  the  black- 
board is  2,  the  assistant  who  can  see  the  number,  pulls  string  twice, 
the  rod  will  touch  the  bottom  of  his  foot  twice  and  he  will  call  out 
two,  and  committee  writes  same,  and  performer  is  ready  for  next 
figure.  If  the  answer  is  476,  the  assistant  first  pulls  the  string  four 
time;  after  a  slight  pause,  pulls  string  seven  times;  another  pause, 
pulls  string  six  times.  To  telegraph  the  cipher,  give  one  long 
steady  pull.  When  vacant  space  is  being  pointed  at,  do  not  pull 
string,  of  course  there  being  a  long  pause,  the  performer  will  under- 
stand that  vacant  space  is  being  pointed  at  and  will  say,  you  are  not 
pointing  at  any  figure  now. 

To  tell  dates  of  coins  which  are  in  the  audience:— To  perform 
this  trick  it  is  necessary  to  have  another  assistant,  who  passes 
among  the  audience;  This  trick  is  done  by  signs  made  by  assistant 
in  the  audience  to  the  assistant  who  is  concealed  at  left  entrance 
of  stage,  who  must  watch  the  assistant  in   the  audience,   through 


SHAW'S  MAGICAL  INSTRUCTOR. 


39 


the  holes  in  the  partition.  The  signs  which  must  be  made  by  the 
assistant  in  audience,  and  understood  by  the  assistant  who  is  con- 
cealed at  the  left  entrance  of  stage,  are  as  follows:— Always  keep 
coin  in  your  hand  and  eyes  on  same  until  the  signs  are  all  made, 
then  you  may  pass  the  coin  to  a  few  persons,  while  they  are  exam- 
ining it,  the  assistant  telegraphs  the  date  to  the  performer,  who 
will  call  it  out. 

The  sign  for  figure  1,  wipe  your  mouth  with  handkerchief; 
figure  2,  bite  your  lower  lip;  figure  3,  cast  your  eyes  to  the  right; 
figure  4,  cast  your  eyes  to  the  left;  figure  5,  raise  your  eyebrows; 
figure  6,  force  tongue  against  right  cheek,  making  cheek  bulge  out; 
figure  7,  do  the  same  with  left  cheek;  figure  8,  rub  chin  with  your 
hand;  figure  9,  draw  your  mouth  to  the  left;  figure  0,  draw  your 
mouth  to  the  right.  I  would  suggest  that  if  you  wish  articles  de- 
scribed, you  might  originate  your  own  signs  and  code. 

AIRY  VOYAGE  OF  PERFORMER  FROM  A  CHAIR:- 

The  trick  lies  in  the  chair,  which  is  placed  well  back  on  stage 
with  back  towards  the  audience,  as  shown  in  fig.  14.     The  chair  is 

made  as  follows:— In  fig. 
14,  "A"  is  a  mirror  set  at 
an  angle  of  420  from  the 
center  of  bottom  of  chair, 
to  the  bottom  of  front  legs 
and  rests  on  the  floor;  dot- 
ted lines  represent  the  po- 
sition of  mirror,  "C-C"  in 
fig.  15,  is  where  the  mirror 
is  fastened  to  the  chair 
bottom.  The  bottom  of 
chair  marked  "E,"  is  cov- 
ered with  red  cloth,  to 
match  cloth  curtain  that 
hangs  at  back  of  stage, 
[Fig.  15.]  about  four  feet  behind  the 

chair.  "D-D"  are  half  legs  which  are  fastened  to  bottom  (on  top  of 
cloth),  when  in  position,  and  lights  arranged  "D-D"  are  reflected  in 
"A"  and  you  imagine  you  see  the  back  legs  of  chair.  "E"  is  also 
reflected  in  "A"  and  causes  it  to  appear  that  you  see  under  chair 
and  see  the  curtain  at  back.  The  chair  stands  directly  in  front  of  a 
trap  in  stage.  To  introduce  trick,  curtain  goes  up  showing  chair, 
you  now  place  two  strong  wires  in  position  in  small  holes  in  back  of 


c 

£ 
0 

0 

40 


SHAW'S  MAGICAL  INSTRUCTOR. 


chair,  (dotted  lines  X-X  show  the  wires);  the  wires  should  be  long 
enough  to  reach  a  little  above  assistants  head,  when  he  or  she  is 
standing  on  chair,  a  light  curtain  is  placed  over  the  wires  and 
reaches  down  to  seat  in  chair,  and  conceals  the  person  on  chair, 
this  person  now  steps  down  through  the  trap.  Cloth  is  removed, 
the  impression  is  created  that  the  person  has  vanished  in  the  air. 

THE  QUEEN  OF  KNIYES:- 

Performer  places  a  block  of  wood  twelve  inches  in  diameter 
and  three  feet  high,  on  the  stage  floor  or  ground;  this  block  has  a 
slit  in  the  top  for  to  hold  a  large  sharp  knife  or  meat  ax,  which  the 
performer  next  places  in  the  slit.  He  now  introduces  a  lady  and, 
making  a  few  magnetic  passes  over  her,  she  is  seen  by  audience  lay- 
ing lengthways  in  the  air  with  her  neck  touching  the  sharp  edge  of 
knife. 


[Fig.  18.]  [Fig.  17.]  [Fig.  16.] 

Seceet: —  Have  a  large  block  of  wood  about  one  foot  in  diame- 
ter and  two  or  three  feet  high,  fastened  to  the  stage  floor  or  ground, 
also  have  a  large  meat  ax.  This  ax  is  driven  into  the  block  of  wood 
or  you  can  have  a  slot  cut  into  the  block  and  place  knife  in  slot,  up- 
side down.  Next  have  an  iron  bust  or  apparatus,  same  as  shown  in 
fig.  16,  it  is  similar  to  the  old  suspension.  "A"  in  fig.  17,  is  the 
notch  that  fits  snugly  over  edge  of  knife.  "C-C-C-C"  in  fig.  18, 
shows  how  straps  of  apparatus  are  fastened  around  lady.     The  lady 


SHAW'S  MAGICAL  INSTRUCTOR. 


41 


wears  a  sort  of  mother  hubbard  dress,  made  very  elegant,  with  a  five 
inch  lace  collar,  to  hide  the  iron  notch.  The  lady  keeps  her  legs 
crossed  when  she  is  placed  on  the  knife.  The  iron  at  back  of  har- 
ness as  is  seen  in  fig.  17,  is  long  enough,  so  that  lady  can  rest  when 
laying  on  it. 

THE  MAGIC  DECANTER:- 

Effect:— Performer  passes  a  Clear  Crystal  Decanter  to  audi- 
ence for  inspection,  on  receiving  it  back,  he  places  same  on  a  small 
table  in  center  of  stage,  then  taking  two  eggs  and  a  cork,  he  loads 
them  into  his  pistol,  which  he  fires  at  decanter,  and  instantly  two 
live  birds  are  seen  in  the  dacanter,  and  the  cork  is  found  tight  in 
neck  of  decanter. 

Secret:— A  special  trap  is  fastened  in  a  bellows  top  side  table. 
The  trap  consists  of  a  small  box  four  inches  long,  two  and  a  half 
inches  wide  and  two  inches 
deep;  it  has  a  thin  sliding 
cover  with  a  cord  fastened 
to  it.  This  cord  runs  over 
servante,  then  to  table  leg 
and  off  to  assistant.  "A" 
in  fig.  19,  is  the  box;  "B," 
the  opening  of  trap;  "C," 
the  sliding  cover  pulled 
back;  "D,"  the  cord  fas- 
tened to  cover  "C."  Place 
two  canary  birds  in  the 
trap  and  slip  cover  over  it. 
The  top  of  table  and  cover 
are  black.  Have  two  de- 
canters, (use  the  square 
style),  one  of  which  has 
the  bottom  cut  out  of  it, 
see  "G"  in  fig.  19;  there  is  [Fig.  19.] 

also  a  hole  in  the  decanter  at  "F."  This  decanter  is  placed  on  ser- 
vante of  table,  a  string  is  fastened  to  cork  "E"  which  is  also  on 
servant,  the  string  passes  down  into  the  decanter  and  out  of  hole 
"B,"  then  to  table  leg  and  off  to  assistant.  Now  being  ready,  give 
unprepared  decanter  for  examination,  load  a  cork  and  two  blown 
eggs  into  pistol,  take  decanter  to  table  and  change  for  "fake"  de- 
canter on  servante,  and  place  the  "fake"  decanter  on  table  over 
trap:— fire  pistol  at  decanter,  assistant  pulls  both  strings,   pulling 


42 


SHAW'S  MAGICAL  INSTRUCTOR. 


cork  from  servante  into  mouth  of  decanter  and  pulling  open  the 
trap,  the  birds  see  light  and  will  fly  out  of  trap  into  the  decanter. 

INDIA'S  WAND  OF  WONDERS:- 

This  is  a  new,  pretty  and  very  effective  trick. 
Performer  by  the  aid  of  this  charming  novelty  is  en- 
abled, while  performing  some  elaborate  flower  tricks, 
to  produce  in  his  open  hand  a  beautiful  plant  in  full 
bloom  in  a  small  pot.  The  experiment  is  repeated 
and  a  second  pot  of  flowers  is  produced  by  simply 
touching  the  wand  to  the  palm  of  the  hand.  The 
wand  may  be  used  for  many  tricks,  such  as,  the 
production  of  several  silk  handkerchiefs,  or  a  small 
bag  of  candy  is  produced  by  simply  inserting  the 
wand  in  a  small  bag  previously  examined.  This  is 
done  by  nipping  the  cap  off  the  wand  and  leaving  it 
r-n  in  the  bottom  of  the  bag,  and  emptying  the  contents 
§  out  for  company.  A  feather  plume  made  to  fit  the 
ti)  full  length  of  wand  can  also  be  produced.  The  caps 
'  5  at  each  end  are  removable  and  fit  over  the  enlarged 
ends  of  wand.  This  metal  wand  unscrews  at  the 
center  (see  "A"  fig.  20),  and  having  a  very  even  joint 
it  is  almost  invisable.  The  wand  is  ebonized  in  imi- 
tation of  your  ordinary  one.  The  wand  when  un- 
screwed, allows  a  beautiful  bouquet  of  feather  flowers 
to  be  pushed  down  each  division,  the  stem  of  each 
being  held  by  a  metal  catch  inside  each  cap.  Per- 
former taps  his  left  hand  and,  holding  the  cap  by  his 
fingertips,  he  slides  it  off  of  the  wand  and  the  ex- 
panding flower  is  instantly  produced.  Wand  is  sim- 
ply turned  end  for  end,  while  making  a  dash  at  left 
hand,  and  the  experiment  repeated  even  though  in 
opposition  to  the  great  fundimental  laws  of  magic. 


MAGNETIC  SECOND  SIGHT: 

Effect:— While  performer  is  absent  from  room  any  person 
may  write  a  number,  word  or  sentence  upon  a  slip  of  paper  which  he 
folds  and  places  in  his  pocket.  Performer  now  enters  grasps  the 
hand  of  the  writer,  and  immediately  re-writes  the  word,  number  or 
sentence.  Not  a  question  is  asked  nor  a  word  spoken.  Impossible 
to  detect. 

Secret:— For  the  performance  of  this  trick  a  confederate  is 


SHAW'S  MAGICAL  INSTRUCTOR. 


43 


necessary;  he  acts  however,  in  the  capacity  of  manager.  Performer 
leaves  the  room,  and  manager  remains  to  give  instructions.  He 
instructs  anyone  in  the  room  to  write  a  number,  word  or  sentence 
on  a  slip  of  paper,  as  they  do  so,  under  pretense  of  instructing  the 
writer  concerning  ^ood  plain  writing,  proper  folding  of  paper,  etc  , 
he  must  learn  what  is  written.  When  performer  enters,  this  infor- 
mation is  given  to  him  by  manager  using  the  telegraphic  alphabet 
by  winks  of  the  eye.  For  instance,  "A"  (.  -)  given  by  one  natural 
wink,  followed  by  one  slightly  prolonged  one.  This  can  be  learned 
in  a  very  short  time,  is  very  easily  given  or  received  after  a  little 
practice,  and  is  almost  impossible  of  detection  if  performed  with 
care. 

THE  TRAVELING  FLAME:- 

Effect:— A  grand  passe-passe  illusion.  Performer  and  assist- 
ant come  forward  from  opposite  wings  of  stage,  each  holding  a  can- 
dle in  hand,  (no  candle  sticks  used);  performer  at  left  wing  shows 
his  candle  lighted  and  states  to  the  audience  that  he  will  fire  his 
blunderbuss  at  the  candle  held  by  assistant,  and  by  atmospheric 
concussion  or  molecular  disturbance  engender  sufficient  heat  to 
light  the  candle.  He  fires  and  instantly  assistants  candle  is  lighted 
and  performers  light  goes  out.  These  changes  take  place  as  often 
as  desired,  finally  performer  takes  both  candles,  one  in  each  hand 
and  blows  them  out,  and  addressing  the  company  be  states  that  he 
will  cause  both  candles  to  relight  by  simply  employing  the  heat  of 
their  imagination. 

Secret:— This  trick  is  performed  by  using  two  spring  candles, 
made  similar  to  the  "Harlquin  Candles'  in  candlestick,"  but  with 


Jpr> 


//*< 


w/kvM 


Canc/lt 


111 


f 


Stud       AirHoIes 


my  improvoment. 


[Fig.  21.] 
Performer  can  remove  the  candles  from  the  cau- 


44 


SHAW'S  MAGICAL  INSTRUCTOR. 


dlesticks  and  hold  them  in  open  hand;  a  projecting  stud,  (see  fig.  21), 
works  up  and  down  in  a  narrow  slot,  carrying  the  lighted  candle 
with  it  when  pressed  downwards  by  the  finger.  The  light  to  all 
appearances  being  extinguished,  and  again  relights  by  releasing  the 
stud,  the  spring  carrying  candle  upwards.  When  required  to  work 
in  candlestick  as  in  old  method,  the  screw  must  be  withdrawn, 
unless  candlestick  is  made  to  fit  candle  just  below  the  bottom  of 
slot.  Performer  and  assistant  come  forward  from  opposite  wings  of 
stage,  each  holding  a  candle  in  hand.  Performer  at  left  wing  shows 
his  candle  lit,  he  states  that  he  will  fire  his  blunderbuss  (held  in 
right  hand),  at  the  other  candle,  and  by  atmospheric  concussion  or 
molecular  disturbance  engender  sufficient  heat  to  light  the  other 
candle.  He  fires,  and  instantly  assistants  candle  is  lighted,  perfor- 
mers light  however  goes  out.  Laying  blunderbuss  on  table  he 
quickly  takes  up  a  firing  wand  and  states  that  by  the  subtle  influ- 
ence of  magic,  he  will  fire  that  light  out:— bang  goes  the  wand  and 
light  is  out,  at  this  moment  performer  releases  the  spring  and  his 
own  candle  is  seen  relighted.  Performer  then  strikes  a  match  on 
the  sole  of  his  shoe  and  pretends  to  throw  same  towards  assistant, 
remarking:  I  will  aid  you  to  a  light,  if  you  have  no  objection.  Per- 
former pretends  to  blow  out  both  candles  at  command,  and  causes 
them  both  to  relight  by  simply  employing  the  heat  of  your  imagina- 
tion; addressing  company. 

THE  MYSTERIOUS  HAT  AND  BALLS:- 

Effect: — Fill  a  hat  with  solid  cloth  balls  and  place  hat  on  one 
of  your  side  tables.  Now  borrow  another  hat  and  place  it  on  your 
other  side  table.  Then  command  the  balls  to  pass  from  one  hat 
into  the  other  hat,  which  they  do. 

Secret: — The  first  hat  is  your  own  and  is  fixed  with  a  hinged 
bottom,  which  is  covered  with  felt  to  correspond  with  the  rest  of 

the  hat.  By  looking 
over  fig.  22,  you  will 
have  some  idea  of  how 
hat  is  fixed;  "A"  is  a 
flap,  when  closed  it  is 
held  in  place  by  a  catch. 
Set  the  hat  on  your  ta- 
ble directly  over  the 
trap  and  fill  with  the 
[Fig.  22.]  [Fig.  23.]  balls,   then    cover    hat 

with  a  handkerchief  and  release  the  trap  in  table  and  the  balls  will 


SHAW'S  MAGICAL  INSTRUCTOR. 


45 


fall  down  into  the  table  box.  Cover  the  other  hat  with  a  plate 
made  of  tin,  which  has  a  false  bottom.  The  under  side  of  the  plate 
is  hinged  and  is  held  with  a  catch  when  closed.  Fill  the  plate  be- 
tween the  false  and  hinged  bottoms  with  spring  balls,  close  up  the 
bottom  "A,"  and  the  catch  will  hold  it  in  place,  and  it  will  look 
like  an  ordinary  plate.  After  placing  the  plate  on  the  hat,  release 
the  spring  and  the  balls  fall  down  into  hat,  slide  the  plate  off  the 
hat  sideways,  this  will  close  the  bottom  without  the  audience  seeing 
it.     Fig.  23,  is  the  plate  showing  trap  "A"  open. 

NEW  COFFEE,  SUGAR  AND  MILK  TRICK:- 

Effect:— Performer  exhibits  three  wooden  boxes,  one  contain- 
ing rice,  one  ground  coffee  and  the  other  bran.  He  also  shows 
three  lemonade  shakers  which  he  fills  as  follows  from  the  three 
boxes.  One  with  bran,  one  with  rice,  and  the  last  one  with  ground 
coffee;  placing  these  in  a  row  on  his  table,  he  covers  each  cup  with 
a  piece  of  board  and,  making  a  few  passes  over  the  cups,  he  removes 
the  boards,  when  in  one  cup  is  found  milk,  in  another  hot  coffee, 
and  in  the  other  one  sugar. 

Secret:— The  cups  have  false  tops  on  which  is  glued  rice  to 
one,  ground  coffee  to  the  second  and  bran  to  the  third.     In  the 

center  of  each  false  top  is 


II'   -_ 


IE 


li 


a  catch  as  is  seen  in  fig.  24. 
In  the  board  which  is  used 
as  a  cover  is  a  sunken  cir- 
cular space  just  the  size  of 
the  false  top.  In  the  mid- 
dle of  this  space  there  is  a 
small  hole  into  which  the 
catch  of  the  top  can  fasten 
itself,  so  now  when  the 
cover  is  removed  the  false 
top  comes  off  with  it.  The 
cups  have  been  previously 
[Fig.  24.]  filled  with  coffee,  milk  and 

sugar,  and  of  course,  are  in  their  respective  places  in  boxes.  You 
can  have  three  duplicate  cups  which  you  show  empty  and  in  the  act 
of  filling  them  you  leave  them  in  the  boxes,  and  bring  out  the  cups 
that  are  full  and  have  "fake"  tops  on. 

EDGAR  POE'S  RAVEN  IN  THE  GARLAND  OF  THEBES:- 

Effect:— A  fine  raven  sits  in  a  beautiful  garland  of  roses,  sus- 


46 


SHAW'S  MAGICAL  INSTRUCTOR. 


pended  in  mid  air  by  two  ribbons.  The  raven  talks,  sings,  whistles 
and  tells  fortunes,  with  startling  effect,  and  always  causes  the 
greatest  astonishment  and  admiration. 

Secret:— The  raven  \  (\c 

is  a  beautiful    stuffed  .-/$()&£& 

bird,  surrounded  by  a 
garland  of  flowers  which 
is  suspended  in  the  air 
by  two  silk  ribbons, 
just  opposite  the  birds, 
mouth.  [See  fig.  25]. 
These  ribbons  are  dou- 
ble and  contain  a  rub- 
ber tube,  the  ends  of 
which  are  concealed  a- 
mong  the  flowers.  As- 
sistant who  is  out  of  [Fig725,] 
view  speaks  whistles,  sings,  etc.,  into  a  metallic  chamber  connected 
with  one  of  the  tubes,  the  sound  passes  out  in  a  direct  line  with  the 
birds  mouth  and  cannot  be  detected. 

OUR  SPELLING  BEE: 

On  a  pack  of  32  blank  playing  cards  have  the  days  of  the  week, 
the  months  of  the  year,  and  the  balance  of  the  cards  numbered  from 
1  to  13.  Arrange  these  cards  in  the  following  order,  face  (or  printed 
side  up,)  upon  the  table. 

12.  Eight. 

13.  June. 

14.  One. 

15.  Tuesday. 

16.  Seven. 

17.  February. 

18.  September. 

19.  November. 

20.  Saturday. 

21.  July. 

22.  Eleven. 

Place  a  small  rubber  band  around  these  cards,  call  this  pack 
number  1,  and  place  it  in  pocket  or  under  vest.  Now  to  make  the 
trick  very  effective  have  another  pack  of  cards  printed  similar,  of 
same  pattern  and  number;  these  may  be  passed  to  company  for  ex- 
amination, cut,  counted  and  shuffled  by  anyone,  and  upon  receiving 


1. 

October. 

2. 

Thursday. 

3. 

Ten. 

4. 

Nine. 

5. 

January. 

6. 

May. 

7. 

Monday. 

8. 

December. 

9. 

Three. 

10. 

Friday. 

11. 

Five. 

23.  Six. 

24.  March. 

25.  Wednesday. 

26.  Two. 

27.  Four. 

28.  Sunday. 

29.  Twelve. 

30.  Thirteen. 

31.  August. 

32.  April. 


SHAW'S  MAGICAL,  INSTRUCTOR. 


47 


them  back  performer  very  adroitly  changes  this  pack  for  pack  num- 
ber 1,  and  at  once  proceeds  to  spell  out  the  words  upon  each  and 
every  card.  The  pack  is  held  in  left  hand,  printed  side  down,  and 
each  card  is  called  by  a  letter  singly,  and  then  placed  under  the 
bottom  card  of  the  pack,  thus: — Begin  with  the  days  of  the  week 
first,  and  spell  Monday  thus:  take  off  the  top  card  and  call  out  "M" 
and  then  place  this  card  on  the  bottom  (face  downwards,  always), 
then  take  second  (the  now  top  card),  call  out  "O"  and  place  at  bot- 
tom, similarly,  and  so  on  through  the  word  Monday,  and  when  the 
card  for  "Y,"  the  last  letter  has  been  put  at  the  bottom,  take  the 
next  top  card  which  has  the  word  Monday  on,  and  show  and  place 
on  table.  Proceed  thus  with  Tuesday  and  other  days  of  the  week 
in  rotation,  and  when  the  week  is  exhausted  begin  with  January 
and  spell  in  the  same  manner  through  to  December,  and  then  the 
numbers  one  to  thirteen.     Spelling  must  be  correct  or  you  will  fail. 

WONDER  KRAUT:- 

Effect:— A  cabbage  held  in  the  hands  of  performer  is  instantly 
transformed  into  an  aquarium  containing  water  and  live  gold  fish, 

which  is  immediately  passed 


to  the  audience  for  inspec- 
tion. This  is  a  most  charm- 
ing and  effective  trick. 

Secret:— A  small  aquari- 
um having  mouth  closed  by 
a  rubber  cap,  same  as  in  the 
Fish  Bowl  Trick.  This  aqua- 
rium is  inserted  in  an  artifi- 
cial cabbage  (see  fig.  26),  made 
of  silk  and  rubber,  nicely 
painted  to  resemble  the  gen- 
uine article.  A  colored  silk 
handkerchief  is  thrown  over 
cabbage  and  removed  with 
rubber  cap  when  silk  hand- 
kerchief is  taken  off. 


[Fig. 


48 


SIIAW'S  MAGICAL  INSTRUCTOR. 


THE  VANISHING  BRIDE:- 

For  this  illusion  you  have  a  platform,  or  rather,  a  sort  of 
pedestal  on  the  stage;  platform  is  two  feet  six  inches  square  and 
two  feet  six  inches  high.  A  wire  cage  five  foot  high  is  placed  on 
top  of  platform.  A  young  lady  appears  on  stage  dressed  as  a  bride, 
(dressed  in  white  with  a  wreath  of  flowers  on  her  head).  She  walks 
into  the  cage,  door  is  closed  and  a  screen  is  placed  around  the  cage 
on  top  of  the  platform  so  that  audience  can  see  under  platform  all 
the  time.  [This  cage  folds  up].  There  is  also  a  trap  in  center  of 
platform.  The  upright  or  pedestal  that  holds  platform  top,  is  half 
round  with  gold  strips  to  make  it  look  round,  in  the  back  there  is 
another  half  round.  The  lady  wears  black  tights  under  her  bridal 
costume,  and  the  costume  is  made  to  fall  off  as  soon  as  she  pull  a 
string.  The  assistant  under  stage  opens  the  trap  and  upright,  and 
lady  passes  her  costume  and  cage  to  him  and  then  drops  through 
herself,  and  hastens  to  front  of  house,  where  she  appears  in  audi- 
ence with  the  cage  on  her  back,  and  dressed  as  at  first. 

CARTOMANIC  FLORAL  CHARM:- 

A  very  beautiful  trick.  After  performing  some  card  trick,  you 
hold  pack  of  cards  on  fingertips  when  instantly  cards  transform  to 
a  profusion  of  Mowers. 


[Fig.  27.] 
Secret:— A  hollow  metal  "fake"  pack  is  loaded  with  silk 
spring  flowers,  "A"  having  a  fine  wire  loop,  "B"  hanging  out.  Per- 
former passes  his  thumb  through  this  loop,  and  at  the  same  time 
pushes  clip  "C"  onto  "fake"  pack.  He  now  pulls  flowers  out  quick- 
ly and  lets  go  of  "fake"  pack,  which  is  carried  under  his  coat  by 
means  of  a  strong  rubber  attached  to  clip.  By  looking  over  fig.  27, 
carefully,  you  will  at  once  understand  the  whole  trick. 

THE  MARVELOUS  WRITING  HAND:- 

This  experiment  belongs  to  those  illusions  by  which,  appar^ 


SHAW'S  MAGICAL  INSTRUCTOR. 


49 


entry,  automatic  motions  seem  to  be  marvelous;  because  they  are 
supposed  according  to  their  construction,  to  have  spiritual  help. 
In  the  top  of  a  four  leg  table,  a  thick  plate  of  glass  with  a  dark 
back  is  put  in,  the  edge  of  which  is  surrounded  by  a  four  inch  wood- 
en frame,  The  table  stands  on  a  platform  which  is  at  least  high 
enough  so  that  a  man  can  hide  himself  under  it  in  a  laying  position. 


[Fig.  28.] 
A  lady's  hand  made  of  wax,  lays  on  the  glass  plate  in  its  center. 
In  the  interior  of  it  is,  apparently,  a  clockwork  which  is  wound  up 
with  a  key  before  the  eyes  of  the  spectators,  but  really  there  is  no 
clockwork  in  it,  only  a  simple  spring  is  turned  around.  The  specta- 
tors are  led  to  believe  that  a  real  clockwork  and  an  ingenuous 
mechanism  makes  the  motions  of  the  hand,  they  believe  it  so  much 
more,  as  they  observe  after  the  winding  up  of  the  work,  that  the 
hand  moves.  The  performance  is  a  'different  one  than  it  is  usually 
thought,  under  the  plate  of  glass  is  a  second  one  a  little  larger  than 
the  top  one,  the  edge  of  whieh  is  covered  up  by  the  wooden  frame 
of  the  table,  under  the  latter  little  ball  rollers  are  fixed  on  which 
the  glass  plate  rests.  In  the  four  corners  holes  are  drilled,  and  in 
each  one  a  gut  string  is  fastened,  which  runs  over  the  rollers  and 
fit,  through  a  hollow  leg  of  the  table  (see  fig.  28).  Under  the  plat- 
form where  the  strings  come  forth  are  also  four  rollers,  over  which 


50 


SHAW'S  MAGICAL  INSTRUCTOR. 


the  four  ends  are  laid,  stretched  straight  and  tied  together  in  the 
center  between  the  four  rollers.  Now  the  under  glass  plate  makes 
the  same  motions  that  your  assistant  makes  with  the  knot,  but  as 
the  edge  is  covered  by  the  frame  the  motion  of  the  glass  cannot  be 
seen.  In  the  center  of  the  upper  glass  plate  is  a  hole  about  one 
inch  large,  upon  which  you  lay  the  automatic  hand.  The  latter 
has  a  pencil  on  the  inside,  which  is  to  be  placed  through  the  hole 
into  a  smaller  hole  of  the  under  plate,  made  for  it  and  so  the  hand 
makes  at  the  same  time,  the  motions  with  the  under  plate.  If  now 
a  person  of  the  company  calls  a  name,  which  shall  be  written  by 
the  hand,  the  assistant  sitting  under  the  table  hears  it  and  seizes 
the  knot,  makes  the  motion  with  it  as  if  he  writes  the  name,  and 
the  hand  holding  a  soft  lead  pencil  writes  the  name  on  a  piece  of 
paper. 

A  more  recent  performance  of  this  writing  hand,  shows  to 
the  spectators  a  drawing  board  on  a  free  standing  easel,  and  before 
the  board  is  a  rule  on  which  the  hand  is  placed.  I  will  give  a 
description  of  this  hand  at  some  length  later  on. 

THE  MYSTIC  SOUR  DROPS:- 

This  new  and  excellent  trick  is  in  effect  as  follows:— Twenty- 
five  real  lemons  are  produced  from  seed,  planted  in  a  plate  full  of 
earth,  held  on  a  tray  by  assistant.    A  marvelous  trick  for  the  draw- 

ingroom  or  stage. 
yl  Secret:— A  flower  stand 

is  used  to  perform  this  ex- 
periment; a  common  paper 
cone  is  inspected,  also  a 
plate  of  earth.  Performer 
rests  plate  upon  the  flower 
stand  and  proceeds  to 
plant  a  handfull  of  lemon 
seed  in  the  earth.  Assistant 
comes  forward  with  a  large 
tray  and  stands  just  to  the 
left  of  the  flower  stand. 
Performer  with  hand,  pla- 
ces the  plate-full  of  earth 
on  the  tray,  and  at  this  in- 
stant, drops  the  cone  over 
the  other  cone  in  the  back 
[Fig,  29.]  of  stand,  (see  fig.  29),  bring- 


SHAW'S  MAGICAL  INSTRUCTOR. 


51 


ing  it  up  as  though  empty.  He  places  cone  over  the  plate  of  earth 
and,  a  moment  later  lifts  cone  off,  when  to  the  surprise  of  everyone 
the  plate  and  tray  are  covered  with  real  lemons.  The  inside  cone 
can  be  metal  if  preferred,  and  has  to  be  "faked"  with  a  tin  bottom, 
painted  to  look  like  earth  on  top,  and  white  beneath.  Three  or  four 
brown  threads  are  connected  at  top  and  bottom,  everything  is  held 
securely  by  having  a  little  catch  at  top  of  inside  cone,  this  can  be 
released  by  fingers  inside  the  cone,  the  threads  falling  down  on  tray 
among  the  lemons  will  not  be  noticed.  The  tin  "fake"  bottom 
resting  on  plate  cannot  be  told  from  the  earth. 

THE  MAGIC  WINE  TASSELS:- 

Two  elegant  tassels  hang  in  an  ap- 
propriate place  on  the  stage,  and  when 
required,  various  wines  are  produced  from 
them  with  startling  effect  and  passed  to 
the  audience  for  consumption. 

Secret: — The  tassels  are  made  to 
resemble  the  ordinary  every  day  tassel, 
use  to  tie  up  heavy  curtains.  The  body 
of  these  tassels  are  hollow  spun  metal,  of 
;  sufficient  capacity  to  contain  a  full  glass 
of  wine.  "A"  in  fig.  30,  is  an  air  hole; 
"B"  is  a  plug  in  bottom  which  is  drawn 
out  by  the  performer  when  he  wishes 
wine  to  run  out,  by  simply  pulling  smart- 
ly on  a  thread  which  hangs  below  tassel. 
j At  a  short  distance  thread  is  not  visable. 
By  having  a  tube  covered  to  represent 
cord  connected  with  a  similar  tassel,  as- 
sistant in  the  flies  could  pour  down 
through  funnel  at  top,  any  liquor  as  call- 
ed for  by  the  audience. 


[Fig.  30.] 


THE  FLORAL  GLOBE  OR  TOTAL  ECLIPSE:- 

Effect:— A  terrestrial  globe  is  shown  to  the  audience;  then 
the  performer  holding  the  globe  in  his  hand,  it  instantly  trans- 
forms into  two  large  bouquets.  This  will  be  found  a  very  charming 
/trick,  and  will  delight  all  those  who  see  it. 

Secret:— A  terrestrial  globe  made  out  of  a  large  rubber  ball, 
divides  at  equator,  changing  into  two  gorgeous  floral  productions. 
Spiral  springs  are  firmly  fastened  to  the  inside  center  of  each  hemis- 


52 


SHAW'S  MAGICAL  INSTRUCTOR. 


phere  (at  the  poles).  Under  cover  of  a  large  handkerehief,  hemis- 
pheres seperate  and  are  turned  inside  out,  so  as  to  cover  all  trace  of 
the  globe.  This  inside  "fake"  is  nicely  arranged  with  feather  and 
other  artificial  flowers,  so  that  each  hand  may  be  shown  to  contain 
a  bouquet  much  larger  than  the  globe  itself. 

NEW  GLASS  CARD  FRAME:- 

Effect:— Performer  passes  a  frame,  cards  and  tumbler  to  audi- 
ence for  inspection.  On  receiving  frame  back  he  suspends  it  on 
two  upright  rods  on  side  table,  then  taking  pack  of  cards  he  has 
three  selected,  then  returned  to  pack  and  shuffled  and  placed  in 
glass  tumbler,  which  is  placed  on  table,  at  command  the  selected 
cards  appear  on  glass,  and  as  mysteriously  disappear. 


# 


i    i 

:  i 


:w 


i  i 


*-,g&/ 


ng33 


2- 


I 


o    <y 


F'§ 


32 


£ 
r.-.zzz'J?.- 


Secret:— Fig.  31,  is  the  frame;  consisting  of  a  plate  of  glass 
set  into  a  wooden  frame.  At  each  upper  corner  is  a  ring  "WW" 
used  to  suspend  the  frame  by.  Fig.  32,  shows  the  back  of  one  of 
the  cards.    These  cards  are  split  and  pasted  on  tin,  "X'  and  Z-Z" 


SHAW'S  MAGICAL  INSTRUCTOR.  53 

are  small  loops.  Use  a  side  table  with  two  rods  "A-A"  as  shown 
in  fig.  33.  To  the  single  loop  "X"  in  fig.  32,  fasten  a  fine  black 
thread.  "D"  in  fig.  33  shows  this  thread;  carry  it  up  above  opening 
over  and  down  behind  side  screen  to  your  assistant  "G."  To  each 
of  the  lower  loops  "Z-Z"  fasten  thread  "E"  and  carry  these  threads 
down  over  servante,  down  table  leg  "F,"  and  off  to  assistant  "G." 
Where  these  threads  pass  over  servante  you  may  terminate  them  in 
a  single  thread.  The  object  of  useing  two  threads  at  this  end  of  the 
card  is  to  prevent  the  card  from  swinging  around  when  drawn  up. 
Thread  each  of  the  remaining  cards  in  the  same  way  and  lay  them 
on  servante  of  table.  Show  frame  and  suspend  it  on  the  rods  of 
table  eighteen  inches  above  servante.  Force  duplicate  cards  and 
have  them  replaced  and  shuffled,  and  place  pack  in  a  glass  tumbler 
and  set  it  on  table  nearly  under  frame.  Command  cards  to  appear, 
assistant  pulls  "D"  and  cards  appear  on  glass;  command  them  to 
return  to  the  pack,  assistant  pulls  floor  thread  "E,"  and  slackens 
upper  thread  "D,"  when  the  cards  are  drawn  down  on  servante. 
You  can  cause  them  to  appear  and  disappear  one  at  a  time,  by  pull- 
ing corresponding  threads.  When  the  cards  have  disappeared,  take 
down  the  frame  and  again  pass  it  for  inspection  together  with  the 
tumbler  and  pack  of  cards 

THE  BLOODSTONE  WONDER:- 

Effect:— A  large  solid  white  stone  is  inspected,  and  performer 
remarks  that  the  old  adage  declares  that  you  cannot  get  blood  from 
a  stone.  This  is  now  made  possible  by  the  charmed  bloodstone.  Per- 
former taps  the  stone  when  blood  pours  from  stone  into  a  glass  tum- 
bler, blood  vanishes  and  the  stone  changes  to  bread  which  is  passed 
for  examination. 

Secret:— A  large  white  stone  is  inspected,  at  the  same  time 
performer  remarks  that,  the  old  adage  declares  that  you  cannot  get 
blood  from  a  stone,  this  is  now  made  possible  by  the  charmed  blood- 
stone. Here  performer  taps  stone  several  times  with  his  wand,  at 
third  blow  wand  and  stone  are  lowered  over  a  tray  on  table  and 
blood  pours  from  stone  into  a  glass  tumbler  on  tray.  [Blood  comes 
from  hollow  metal  wand].  Blood  is  vanished  by  vanishing  glass  of 
water  process.  Stone  is  wrapped  in  paper  and  package  exchanged 
on  servante  for  one  containing  bread,  this  is  placed  on  run  down; 
performer  fires  pistol  at  package,  opens  it  and  states  that  Satan  has 
changed  the  stone  into  biead. 


§4 


SIIAW'S  MAGICAL  INSTRUCT OR. 


THE  MAGIC  SQUEEZERS:- 

Effect: — Performer  during  the  per- 
formance of  some  trick  requires  a  glass  of 
wine*  taking  a  deck  of  cards  in  hand  he 
squeezes  them  tightly  several  times,  un- 
til an  entire  glass  of  wine  is  extracted 
from  same. 

Secret:— An  imitation  pack  is  pick- 
ed up  from  table  with  several  loose  cards 
in  front,  to  spread  out  fan  shape  to  prove 
that  they  are  genuine  cards.  Remove 
pellet  of  wax  from  air  hole  "A,"  (see  fig. 
34),  and  the  wine  will  run  out  of  hole  in 
bottom  of  the  tin  "fake,"  which  has 
nicely  painted  edges.  Front  and  back  of 
tin  "fake"  have  real  cards  pasted  on.  The 
"fake"  is  filled  by  using  a  fine  tubed 
syringe. 


[Fig    34] 

THE  CREATION,  OR  EA.RTH,  AIR,  FIRE  AND  WATER:- 

Effect:— A  fine  sensational  act.  Several  light  and  handsome 
skeleton  stands  with  narrow  fringe,  no  drapery,  are  shown  to  the 
audience.  On  one  is  placed  a  few  feathers,  on  another  a  little  earth 
and  a  third  a  few  matches,  and  on  the  fourth  a  few  drops  of  water. 
The  top  of  each  one  is  then  covered  with  a  handkerchief,  which  is 
removed  instantly,  and  on  one  is  found  several  large  bowls  of  water, 
on  another  several  blazing  bowls  of  fire,  on  the  third  a  large  and 
superb  growth  of  flowers,  and  on,  or  rather  from  the  fourth  comes  a 
flock  of  doves.    Excellent  effect. 

Secret:— The  tables  for  this  trick  are  made  as  follows:— Fig. 
37,  shows  table  as  it  appears  to  audience,  this  has  three  feet,  (I  show 
but  two  in  illustration);  the  supporting  leg  extends  through  these 
feet  and  touches  the  floor.  The  fringe  on  the  table  is  five  inches 
deep.  The  top  of  the  table  inside  the  dotted  lines  is  movable  and 
consists  of  a  very  thin  sheet  of  wood,  or  stiff  cardboard  can  be  used; 
the  entire  top  of  the  table  is  covered  with  some  dark  figured  cloth, 
but  cut  through  along  the  dotted  lines;  the  underside  of  this  mova- 


SHAW'S  MAGICAL  INSTRUCTOR. 


55 


ble  top  is  painted  a  dead  black.  There  is  another  piece  of  wood 
exactly  the  same  size  as  this  top  and  covered  with  the  same  kind  of 
cloth,  this  has  a  weak  spring  fastened  at  each  end,  on  the  opposite 
side  from  the  one  that  is  covered  with  cloth,  this  springs  is  fastened 
in  turn  by  each  end  to  the  lower  end  piece  of  the  table  frame,  (see 
fig.  35).  "A"  the  board,  "B-B"  the  spring,  "C"  the  piece  of  frame 
that  the  spring  is  fastened  to;  the  dotted  lines  at  the  opposite  end 
show  the  same  arrangement  of  spring  and  frame  at  that  end.  There 


[Fig.  35.]  [Fig.  36.]  [Fig.  37.]  [Fig.  38.] 

is  a  small  easy  sliding  bolt,  placed  at  each  end  on  the  under  side  of 
this  board,  but  placed  in  such  a  position  as  not  to  interfere  with 
the  springs  when  the  board  is  pressed  down,  the  bolt  shoves  into 
position  catching  in  holes  in  the  lower  end  pieces;  the  board  is  held 
in  this  position  until  the  bolts  are  withdrawn.  [See  fig.  36].  "B-B" 
the  bolts,  "C-C"  the  lower  end  pieces  in  which  the  bolts  catch.  The 
bolts  are  withdrawn  by  a  simple  arrangement  of  black  cord.  To  the 
back  end  of  each  bolt  a  strong  cord  is  fastened,  this  cord  is  then 
pressed  through  a  ring  placed  on  the  under  side  of  the  board,  the 
cords  are  then  fastened  to  a  single  strong  cord;  this  cord  runs  down 
the  back  of  the  supporting  leg  and  is  fastened  to  the  upright  end  of 
an  iron  sliding  bar,  this  bar  terminates  in  a  step  shaped  arrange 
ment  when  the  bolts  are  in  position  in  the  holes  "C-C."  This  step 
should  be  about  four  inches  above  the  floor,  (see  fig".  36),  the  dotted 
lines  represent  the  cords,  "H"  the  ring  they  pass  through.  Fig.  40, 
shows  the  cord  running  down  the  leg  to  the  sliding  step  piece. 
Fig.  41,  shows  the  step  enlarged.  Fig.  38,  shows  the  table  with  a 
movable  top  removed,  and  the  sliding  top  "A"  raised  by  the  springs 
"B-B"  up  in  a  place  of  it,  the  fine  lines  show  the  positions  of  the 
springs,  sliding  up,  and  the  releasing  top  and  step.      Fig.  39,  shows 


56 


SHAW'S  MAGICAL  INSTRUCTOR. 


underneath  of  the  table  frame  with  the  crossed  pieces  attached,  to 
which  the  leg  is  fastened  at  the  round.  After  making  your  table 
as  above,  put  on  your  fringe  then  operate  as  follows: 


mJiX  j 


[Fig.  39.]  [Fig.  40.]  [Fig.  41.] 

Operation:— You  use  a  stiff  cardboard  covered  with  black 
paper  on  both  sides,  this  must  be  just  the  size  of  the  movable  top; 
press  down  the  sliding  top,  shove  the  bolts,  then  place  your  bowls 
of  water  or  anything  you  wish  to  produce  down  on  "A,"  then  place 
the  movable  cover  in  position.  When  the  curtain  raises  you  ad- 
vance, show  cardboard  cover,  pass  it  for  examination  then  make  a 
few  remarks  on  the  creation  of  the  world;  tell  them  you  have  dis- 
covered the  secret  and  will  show  them  how  to  create  the  elements. 
Sprinkle  a  few  drops  of  water  on  the  table  top,  then  place  your 
cover  on  the  table  at  the  same  time  put  the  toe  of  your  boot  on  the 
sliding  step  and  press  down  on  it;  lift  up  the  cover  carrying  with  it 
the  movable  top  The  audience  see  two  or  three  bowls  of  water  and 
fish  setting  on  the  table,  turn  round  the  cover  show  both  sides. 
They  can  see  nothing  of  the  top  because  it  is  black,  the  same  as  the 
examined  cover.  Now  lean  the  cover  and  top  up  against  the  leg  of 
your  table  and  go  on  to  the  next  table. 

THE  MYSTIC  PEACHES:- 

Effect: — An  original  and  extraordinary  wonder.  Performer 
coming  forward  with  sleeves  rolled  up,  and  showing  hands  back  and 
front,  he  asks  for  the  loan  of  a  pocket-book,  and  upon  receiving  the 
book  he  immediately  opens  it  and  produces  from  same,  six  beautiful 
large  peaches  which  are  passed  to  the  audience,  who  dispose  of  them 
with  a  magical  relish.  This  is  a  most  charming  experiment  for 
drawing  room  or  stage. 

Secret: — Have  several  peaches  made  of  silk  over  fine  tempered 
spiral  spring.  The  exterior  is  hand  painted,  to  immitate  the  natural 
peach.  A  long  bill-book  is  borrowed  from  someone  in  the  company 
and,  while  walking  towards  center  table  the  bundle  of  peaches  are 
palmed  from  vest  in  left  hand,  and  at  the  instant  required  to  turn 


Sit  AW' S  MAGICAL  INSTRUCTOR. 


57 


toward  the  company,  the  hands  are  brought  together,  bill-book  in 
front,  flap  opened  and  the  peaches  placed  on  a  plate  Assistant 
takes  plate  off  of  table  and  when  just  inside  the  left  wing  perfor- 
mer turns  around  and  says,  whjere  are  you  going  with  those  peaches 
they  are  not  for  you,  take  them  to  the  ladies.  The  moment  assist- 
ant reached  the  wing  he  changed  the  "fake"  peaches  for  a  plate  of 
natural  fruit,  which  are  then  passed  to  the  audience.  Of  course 
oranges  or  any  other  fruit  can  be  used  instead  of  peaches. 

OMEGA :- 

This  illusion  has  becomejiuite  celebrated  in  Europe;  although 
simple  in  construction  is  very  effective  if  well  presented. 

In  front  of  rabbit 
trap  of  your  center  ta- 
ble stands  a  little  frame 
with  top,  as  seen  in  fig. 
42;  on  this  top  rests  a 
childs  head.  On  the  top 
of  center  table  around 
this  frame  is  placed  a 
screen  which  covers  the 
sides  and  back  of  frame 
From    the    bottom    of 
front  feet  of  frame  to 
I  "-.    the  center  bar,  a  mirror 
I  is  inserted;    and    from 
bar  to  the  top  of  the 
j§P  same     leg    is    inserted 
~  another  mirror.    In  the 

|Fig.  42.]  top  of  the  stand    is  a 

round  hole  through  which  the  little  girl  puts  her  head,  her  body 
being  concealed  behind  the  glasses  and  her  feet  are  in  the  rabbit 
trap.  The  under  side  of  the  top  of  frame  is  covered  with  the  same 
material  as  screen  is  covered  with,  which  is  reflected  in  the  mirror 
and  the  audience  imagine  they  see  back  of  screen  under  top  of  the 
frame. 

TUSSAH: 

Effect:— This  illusion  has  caused  considerable  sensation  in 
this  and  other  countries.  It  is  managed  in  the  following  manner: 
The  back  of  the  stage  or  room  is  hung  with  a  dark  curtain,  and 
hanging  in  front  of  this  is  a  smaller  curtain,   which,   when  drawn 


58 


SHAw'S  MAGICAL  INSTRUCTOR. 


aside,  reveals  a  box-like  cavity  about  four  feet  from  the  floor,  in 
which  is  seen  the  head  of  a  lady  This  head  is  apparently  suspend- 
ed, so  to  speak,  upon  nothing,  being  exactly  in  the  center  of  the  box 
the  back,  top,  sides  and  bottom  of  the  box  being  to  all  appearance 
visible;  the  head  is  endowed  with  life,  and  speaks  and  answers 
questions. 


^ :vfflmi 

— ; 

r**    '*    _uw*: 

i -wH    DW 

B|=jj 

lIIi^BMBpl 

S~     "^MU 

HI  1 

HK  ■  H 

mm 

Hill 

1 

1 1    Hfci?? 

H 

I 

Kara 

mmm 

¥  '4 

$  ^ 

HHU'I 

Hi 

^^K^i^mix 

Wm/    l||H 

-_;~~-r--"  - 

x 

■Hi  Mm 

=^^^^==m 

"^N 

=^         -'- -1 

mwmmfflmlim 

[Fig.  43  ] 
Secret:— This  illusion  is  caused  by  the  aid  of  a  plate  of  look- 
ing-glass. An  oblong,  box-like  frame  is  made,  which  is  open  at  the 
front  and  bottom,  and  a  sheet  of  plate  looking-glass  is  fixed  from 
the  front  edge  and  slopes  backward  at  an  angle  of  45  degrees  to  the 
top.  In  the  center  of  this  glass  an  oval-shaped  hole  is  cut,  to  allow 
the  head  of  the  young  lady  to  be  passed  through;  and  around  the 
edges  of  this  opening,  upon  the  surface  of  the  glass,  a  piece  of  dark 
fringe  about  three  or  four  inches  wide  is  glued,  the  young  lady  her- 
self wearing  a  piece  of  the  same  kind  of  fringe  around  her  neck;  this 
fringe  prevents  any  shadow  from  being  thrown  upon  the  glass  when 
the  lady  has  her  head  through  the  hole— (see  fig.  43).      The  top  and 


SHAW'S  MAGICAL  INSTRUCTOR.  59 

sides  of  the  box  are  prepared  or  painted  in  diamond-shape  designs, 
and  the  top  is  edged  around  the  corners  with  a  narrow  gilt  mould- 
ing. When  the  light  is  placed  in  front,  the  reflection  of  the  top 
and  sides  is  shown  in  the  glass,  and  thus  it  appears  to  be  the  bottom 
.and  full  sides  that  the  spectators  see;  and  this  causes  the  apparent 
illusion  of  seeing  top,  bottom  and  sides,  when  in  reality  it  is  only 
the  top  and  a  portion  of  the  sides  that  they  can  see. 

THE  GOLDEN  FLASH  OF  LIGHT:- 

Performer  borrows  a  lady's  handkerchief,  and  exchanges  it 
for  a  flash  handkerchief  of  same  size.  The  handkerchief  is  ignited 
and  instantly  disappears  in  a  flash,  leaving  in  sight  nothing  but  a 
heap  of  gold  coins,  in  the  performers  hand  This  is  an  elegant 
trick  and  very  simple  to  perform.  Purchase  from  any  first-class 
news  stand,  a  pile  of  gold  coins,  (sold  for  paper  weight  purposes); 
this  will  need  a  catgut  or  wire  loop  attached  to  one  side,  and  you 
are  all  ready  to  produce  the  trick.  Suspend  this  pile  of  gold  coins 
on  back  of  left  hand  and  swing  into  palm  of  hand,  at  the  same  mo- 
ment flash  handkercheif  is  placed  over  hand  to  be  vanished. 

THE  NE  PLUS  ULTRA  COIN  TEICK:- 

Effect: — Performer  shows  his  hands  empty,  then  catches  with 
his  right  hand  a  genuine  half  dollar,  apparently  from  the  air;  after 
holding  his  hands  wide  apart,  throws  the  coin  invisibly  into  his 
left  hand,  where  it  appears  at  the  extreme  finger-tips;  again  shows 
right  hand  entirely  empty  (exposing  palm);  then  proceeds  as  before 
with  his  right  hand  catching  another  half-dollar  at  finger-tips,  and 
passes  the  coin  again  invisibly  to  finger-tips  of  left  hand  in  compa- 
ny with  the  first  coin,  both  coins  being  held  at  extreme  finger-tips. 
Again  showing  right  hand  entirely  empty  proceed  as  before,  and 
catch  the  third  coin  from  the  air,  which  he  passes  across  invisibly 
with  the  other  at  finger-tips  of  left.  How  the  coins  get  there  is  a 
mystery,  as  no  one  can  see  them  go,  but  every  one  can  hear  it  as  it 
arrives  in  the  left  hand,  and  as  it  strikes  the  other  coins  and  as  it 
appears  at  finger-tips  with  the  others.  He  continues  catching  half- 
dollars  in  this  manner  with  right  hand  and  passing  them  invisibly 
over  to  finger-tips  of  left  hand  until  fifteen  or  twenty  coins  are 
produced  at  finger-tips  of  left  hand  where  all  coins  are  spread  out 
in  a  very  pretty  "fan  shape."  This  is  a  marvel  in  coins,  and  is  just 
as  much  a  mystery  to  professionals  as  it  is  to  novices,  as  the  palm 
of  the  right  hand  is  always  shown  empty  before  catching  each  coin, 
and  left  hand  is  also  shown  empty  and  sleeves  rolled  up  before 


60 


SHAW'S  MAGICAL  INSTRUCTOR. 


commencing  the  trick.    This  is  one  of  the  greatest  coin  effects  up 
to  date. 

Secret:— The  performer  comes  forward  with  a  wand  in  his 
hand,  which  he  lays  on  the  table;  exposes  both  hands,  palm  and 
back,  and  picks  up  wand  with  right  hand  at  the  same  time  picking 
up  and  palming  a  stack  of  half-dollars,  say  fifteen  or  twenty.  Pick- 
ing up  wand  merely  serves  as  an  excuse  to  get  coins  palmed  in 


[Fig.  45.]  [Fig    44v 

right  hand,  after  showing  hands  empty.  Now  remember  you  have 
twenty  half-dollars  in  palm  of  right  hand,  and  you  transfer  any  one 
of  them  to  the  palm  of  left  hand,  then  by  the  reverse  palm,  palm 
the  coin  back  between  thumb  and  third  finger,  as  in  fig.  44.  Now 
show  palm  of  left  hand  empty,  make  a  grab  in  the  air,  at  the  same 
time  throwing  coin  to  the  finger-tips.  Show  coin  number  one  as 
being  caught  in  the  air:  Now  hold  the  right  hand  up  in  the  air 
with  back  of  hand  towards  the  audience,  (see  fig.  45),  and  make  a 
pass  as  if  to  throw  the  coin  just  caught  to  finger-tips  of  right  hand, 


[Fig.  46.] 
at  the  same  time  palming  the  coin  back  between  thumb  and  index 
finger,  again  showing  palm  of  hand  empty,  at  the  same  instant 
producing  at  the  finger-tips  between  the  thumb  and  index  finger 
one  of  the  coins  palmed  in  right  hand,  (see .fig.  46),  where  it  appears 
to  audience  as  having  been  invisibly  thrown  from  left  to  right  hand. 
Now  make  another  clutch  at  space  with  the  left,  and  produce  coin 
to  tips  of  the  fingers  as  before,  and  proceed  as  before  and  apparently 
pass  coin  invisibly  across  to  tips  of  fingers  of  right  hand,  at  the 
same  instant  producing  coin  number  two  with  second  and  third 


SHAW'S  MAGICAL  INSTRUCTOR.  61 

finger  from  palm  to  tips  of  finger  in  company  with  coin  number 
one.  Above  deception  may  be  repeated  making  pass  with  left  hand 
as  above  described,  and  producing  coins  with  left,  until  all  coins 
palmed  in  the  right  are  produced  at  tips  of  fingers.  This  is  a  very 
difficult  feat  and  requires  long  diligent  practice. 
THE  DISSOLVING  HALF  DOLLAR:- 

A  half-dollar  is  borrowed  and  sleeves  rolled  up  to  elbows,  coin 
placed  in  palm  of  hand  and  hand  slowly  closed,  showing  coin  to  last 
moment  still  in  hand.  Hand  is  immediately  opened  and  coin  has 
disappeared.  Hand  shown  both  back  and  front.  Hand  can  be  ex- 
amined to  prove  coin  is  not  concealed  about  it.  This  is  a  new  prin- 
ciple and  knocks  out  all  previous  methods  and  does  not  require 
much  skill  to  perform. 

Secret: — Take  a  small  piece  of  tin  foil  size  of  half-dollar,  and 
press  down  over  a  half-dollar,  (new  coin  preferred),  make  a  good 
impression,  so  it  will  look  like  a  genuine  coin.  After  making  sever- 
al passes  with  genuine  coin,  change  it  for  "fake"  by  any  of  the 
numerous  methods;  place  "fake"  in  palm  of  hand,  slowly  close  hand 
which  will  crumple  tin  foil  in  a  small  wad,  then  in  act  of  opening, 
hand,  throw  it  (tin  foil,)  by  the  reverse  palm,  back  between  thumb 
and  first  finger,  entirely  concealing  it.  Show  both  palm  and  back 
of  hand.  It  greatly  strengthens  the  effect  to  roll  both  sleeves  up 
before  commencing  this  feat. 
THE  WONDERFUL  TURNOVER  WITH  COINS:- 

Effect:— Take  twenty-five  or  thirty  half-dollars  and  spreadign 
them  from  tips  of  fingers  to  extreme  lower  part  of  palm  of  hand, 
cause  them  to  turn  over,  same  as  done  with  cards. 

Seccet: — Take  the  stack  of  coins,  and  place  them  with  lower 
coin  resting  on  second  and  third  fingers  of  right  hand,  and  with 
left  hand  spread  the  coins  along 
whole  length  of  right  hand.  By 
slightly  raising  the  tips  of  se- 
cond and  third  fingers,  cause 
coins  to  turn  over,  and  by  slight- 
ly lowering  the  tips  of  fingers, 
and  at  same  time  contracting 
the  muscles  of  the  hand,  you  can 
reverse  them  back  to  their  origi-  [Fig.  47.1 

nal  position.  This  is  a  very  pretty  finish,  looks  very  neat,  and 
although  it  appears  easy  requires  considerable  practice.  Fig.  47, 
shows  position  of  coins  in  the  hand. 


62  SHAW'S  MAGICAL,  INSTRUCTOR. 

ELECTRICAL  COIN  TRANSPORTATION:- 

Two  common  glass  goblets  are  examined  by  audience.  Five 
half-dollars  are  visibly  counted  out  and  placed  in  one'of  the  glasses, 
which  is  covered  by  a  black  silk  handkerchief  and  placed  on  a  side 
table,  or  may  be  held  by  one  of  the  spectators.  The  other  glass  is 
shown  perfectly  empty,  covered  with  a  handkerchief  and  placed  on 
other  side  table  or,  given  to  another  spectator  to  hold.  Performer 
now  commands  coins  to  pass  from  glass  No.  1  to  glass  No.  2,  and  on 
being  uncovered  they  are  found  to  have  done  as  commanded.  Per- 
former does  not  touch  the  glasses  or  handkerchief  after  handing 
to  persons  to  hold.  Persons  holding  the  glasses  take  the  handker- 
chiefs off  themselves.    This  is  a  very  fine  stage  trick. 

Secret: —  Before  commencing  this  trick  have  two  glass  goblets 
and  two  handkerchiefs  on  centre  table,  and  a  third  goblet  on  ser- 
vante.  Begin  by  taking  five  half-dollars  in  right  hand,  pass  them 
■apparently  to  left,  then  with  appropriate  patter,  place  the  left  hand 
<over  top  of  one  of  the  glasses  on  table,  as  if  dropping  coins  in  it, 
;and  at  the  same  instant  drop  coins  from  right  hand  into  glass  on 
servante;  take  glass  that  is  supposed  to  contain  coins,  and  place  on 
:side  table  covered  with  handkerchief,  take  up  other  glass,  call 
attention  to  the  fact  that  it  is  perfectly  empty,  then  as  you  pick  up 
handkerchief  from  table  with  right  hand,  change  glass  with  left 
for  one  on  servante.  This  gives  you  the  glass  containing  coins, 
which  you  place  on  other  side  table  and  cover  with  handkerchief; 
thus  the  trick  is  finished  when  spectators  think  you  have  just  begun 
it.  Glasses,  handkerchiefs  and  coins  may  be  examined  by  audience 
^before  or  after  performing,  if  desired. 

DISAPPEARING  STACK  OF  COINS:- 

Effect: — Performer  places  any  number  of  U.  S.  half-dollars, 
for  instance  25  to  40  in  the  palm  of  hand  and  by  simply  blowing  on 
tiand  causes  coins  to  disappear.  Hand  shown  empty  and  coins 
produced  under  vest.  This  is  a  remarkable  illusion  as  there  are  so 
many  coins  employed  and  it  always  creates  a  sensation. 

Secret:— Take  25  or  30  half-dollars  between  index  finger  and 
thumb  of  right  hand,  and  apparently  place  them  in  palm  of  left, 
but  in  reality  retain  them  in  palm  of  right,  at  same  time  closing 
left  hand  as  though  they  were  still  there,  being  careful  to  keep  your 
eyes  on  the  left  as  spectators  eyes  invariably  follow  performers. 
You  may  now  lower  the  right  with  coins  palmed,  and  pick  up  wand, 
and  pass  over  the  left  hand,  when  upon  opening  hand,  coins  have 
apparently  disappeared.     You  may  now   finish  by  introducing  the 


SHAW'S  MAGICAL  INSTRUCTOR.  63 

palmed  coins  under  vest  with  second  and  third  fingers  of  right  hand 
and  producing  or  dropping  them  in  a  shower  into  palm  of  the  hand, 
It  would  seem  almost  like  an  ~. 

impossibility  to  palm  so  large  a  V*^w 

number  of  coins  at  one  time,  but  V 

by  palming  the  stack  together 
with  milled  edge  to  palm,  as  in  ( 
fig.  48,  it  becomes  an  easy  mat- 
ter with  the  proper  amount  of 
practice.  You  may  execute  the 
feat  without  using  the  wand  if  [Fig.  48.] 

you  wish,  but  the  wand  may  aid  a  beginner.  If  you  are  expert 
enough,  you  may  introduce  the  coins  under  vest  while  spectators 
attention  is  attracted  to  left  hand;  then  after  showing  the  right 
empty,  produce  coins  from  under  vest. 

THE  BALDWIN  ACT:- 

This  act  is  styled  under  the  "guise"  of  mind  reading,  spirit- 
ualism, second  sight,  etc.,  etc.,  by  the  Baldwins,  who  have  been 
mystifying  thousands  of  people  for  the  last  twenty  years.  By  care- 
fully perusing  the  following  description,  you  will  see  how  simple 
the  act  is  to  operate,  but  somewhat  mysterious  in  effect. 

Effect:— During  the  first  part  of  the  performance  a  number  of 
slips  of  paper  are  distributed  among  the  audience  with  the  request 
that  they  write  questions  on  them,  such  as,  "who  stole  my  watch," 
etc.  They  are  then  asked  to  fold  them  up  and  place  them  in  their 
pocket  and  to  keep  their  mind  on  them.  They  are  also  requested  to 
sign  their  full  name  to  them.  During  the  latter  part  of  the  perform- 
ance Mrs.  Baldwin  is  brought  on  the  stage,  in  a  supposed  hypnotic 
state.  She  starts  by  saying  "I  have  an  impression,  it  comes  from 
the  centre  of  the  house,  it  is  from  James  Brown,  he  wishes  to  know 
who  stole  his  pocket-book."  Mr.  Baldwin  now  asks  for  the  slip 
and  Mrs.  Baldwin  either  describes  or  gives  the  initials  of  who  stole 
the  pocket-book,  probably  telling  when  it  was  stolen  and  the  amount 
of  money  it  contained.  In  this  manner  she  answers  three  or  four 
questions  when  she  appears  to  feel  chilled.  A  piece  of  cheese  cloth 
is  now  thrown  over  her  and  she  answers  the  rest  of  the  questions 
and  probably  describes  some  recent  murder. 

Secret: — Amongst  the  audience  are  placed  four  or  five  'cappers' 
who  take  sliqs  of  paper,  but  instead  of  writing  questions  they  make 
copies  of  the  questions  that  are  written  by  those  around  them, 


64  SnAw'S  MAGICAL  INSTRUCTOR. 

giving  the  row  and  the  number  of  the  seat  and  if  they  cannot  make 
out  the  name  they  give  a  description  of  the  writers  dress.  These 
slips  are  passed  to  the  attendants  when  they  collect  the  pencils  and 
the  small  tablet  from  which  the  slips  weie  torn.  They  are  taken  to 
Mrs.  Baldwin  and  a  list  is  made  of  them  with  such  answers  as  they 
see  fit.  When  possible,  information  of  lost  friends  is  obtained 
from  twenty  or  thirty  directories,  which  Mr.  Baldwin  carries  in  his 
trunk.  Additional  information  is  also  obtained  by  taking  into 
confidence  the  manager  or  treasurer  of  the  house.  For  instance  if 
some  person  when  buying  a  ticket  tells  the  treasurer  that  he  has 
lost  some  article  and  that  he  is  going  to  ask  Baldwin  about  it,  the 
treasurer  makes  a  note  of  this  and  also  of  the  seat  the  person  buys. 
In  her  act  Mrs.  Baldwin  uses  this  information.  If  the  party  does 
not  happen  to  write  the  question,  she  will  tell  them  that  they 
thought  of  it  and  so  make  the  act  all  the  stronger.  Before  Mrs. 
Baldwin  goes  on  the  stage  she  conceals  in  her  dress  the  list  of  ques- 
tions; but  she  commits  four  or  five  of  them  to  memory  which  she 
gives  first.  When  these  are  exhausted  she  has  the  cheese  cloth 
thrown  over  her  which  gives  her  an  opportunity  to  consult  the  list. 
For  each  performance  one  or  two  good  questions  are  worked  up  by 
the  "cappers,"  for  the  star  test  of  the  evening.  These  usually  relate 
to  some  great  local  sensation,  such  as  a  murder,  or  a  rail-road  acci- 
dent, etc.  By  this  method  you  can  see  that  an  unlimited  amount 
of  sensation  can  be  produced,  limited  only  by  the  skill  of  the  per- 
formers. And  still  further  information  can  be  obtained  by  having  a 
lady  and  gentleman  confederate  make  a  systematic  canvas  of  the 
t^wns  you  wish  to  play,  with  the  ostensible  purpose  of  disposing  of 
in  some  manner,  of  merchandise,  such  as  books,  bibles,  photograph 
albums,  patent  medicines  and  household  utensils.  It  is  however, 
well,  if  these  confederates  keep  their  real  business  to  themselves, 
keep  their  eyes  and  ears  open  and  learn  all  they  possibly  can,  both 
of  the  living  and  the  dead,  among  prominent  spiritualists.  They 
should  also  provide  themselves  with  a  blank  book  suitable  for  the 
pocket,  which  contains  an  index.  Under  the  proper  letter  record 
every  name  and  date  which  they  imagine  may  be  of  future  service 
to  the  professor.  By  the  exercise  of  a  little  shrewdness,  the  con- 
federates can  soon  learn  at  the  post  office  and  principal  news  stands 
of  the  town  who  are  the  greatest  readers  of  spiritual  papers,  while 
the  local  cemetery  will  furnish  much  desirable  information  con- 
cerning those  who  have  passed  into  spirit  life.  With  the  names 
and  dates  thus  secured,  the  confederates  will  be  able  in  most  in- 


SHAAV'S  MAGICAL  INSTRUCTOR 


65 


stances  to  make  brief  histories,  which  they  mail  to  the  professor, 
who  travels  eight  or. ten  days  behind.  This  preliminary  work  is 
what  is  called  by  professional  mediums,  "planting  a  town,"  and 
the  larger  the  area  planted  the  more  knowledge  the  professor  will 
have. 

THE  ANNIE  EYA  FAY  COTTON  BANDAGE  TEST:- 

Fasten  three  cleats  to  post  at  base,  one  on  back,  and  one 
on  each  edge.  Fasten  screw  and  ring  in  post,  at  height  of  your 
wrists  when  sitting  down,   with  hands  behind  you.     Procure  six 


THE  TIE  BY  THE  COMMITTEE. 

[Fig.  49.] 

strips  of  cotton  about  one  inch  wide  and  eighteen  or  twenty  inches 

long,  (each).    Now  after  committee  have  been  selected  and  examine 

post  and  cabinet,  have  them  tie  a  strip  around  each  wrist,  so  two 


66 


SIIAW'S  MAGICAL  INSTRUCTOR. 


GENERAL  NIaniFESTATIONS, THROUGH  THE  COTTON  0ANDA&eTi£ 

[Fig.  50.] 


SHAW'S  MAGICAL  INSTRUCTOR. 


67 


THE    GLASS  OF  WATER 
Spirits  Disproving  the  Agency  of  Electricity 

[Fig.  51.] 


SHAW'S  MAGICAL  INSTRUCTOR. 


ends  hang  at  the  inside  of  wrists  (see  fig.  49).  Now  they  can  seal 
knots  and  place  court  plaster  over  strips  so  they  could  not  he  slipped 
off  of  wrists.  Now  place  your  hands  behind  you,  resting  one  on 
each  hip,  so  hands  are  nine  inches  apart,  and  have  them  tie  all  four 
ends  together.  Now  your  assistant  takes  another  strip  and  ties  its 
center  twice  around  these  two  on  left  of  knots,  leaving  two  ends 
hanging;  committee  now  tie  these  securely  to  ring  on  post,  sealing 
knots,  (last  ones),  if  desired.   They  then  tie  a  strip  at  center  around 


THE  HOLDING  TEST  BEFORE  MANIFESTATIONS. 
[Fig.  52.] 
each  arm  above  elbow,  and  tack  two  ends  of  each  to  side  of  post. 
Hold  arms  well  forward  at  thigh,  so  they  are  not  tied  back  to  tight. 
They  also  tie  and  seal  a  piece  around  neck  and  tack  loose  ends  to 
top  of  post;  they  are  then  asked  to  state  to  audience  what  they  have 


snAw'S  MAGICAL  INSTRUCTOR.  69 

done.  They  then  take  seats  at  side  of  stage,  assistant  places  a  bell, 
horn  and  tambourine  in  your  lap  and  closes  cabinet.  You  place 
left  hand  back  of  you  and  bring  right  around  in  front,  (wrist  strips 
sliding  through  the  one  tied  to  ring).  Place  the  horn  in  mouth, 
bell  in  left  hand,  guitar  in  right,  (see  fig.  50),  and  you  can  make  all 
the  noise  you  want.  When  carrying  right  hand  around  in  front  it 
may  be  necessary  to  turn  your  body  to  right  a  little  at  finish.  Throw 
tambourine,  etc.,  out  at  front  curtain,  call  for  light  when  all  is  well 


THE  HOLDING  TEST  DURING  MANIFESTATIONS. 
[Fig.  53.] 
assistant  places  an  inverted  tambourine  in  lap,  a  goblet  half  full  of 
water,  and  closes  curtain.  You  reach  around  right  hand,  take 
goblet  by  bottom,  move  body  round  and  head  as  low  as  possible; 
place  the  goblet  to  lips  (see  fig.  51),  and  drink  contents,  replacing 
empty  glass  in  lap,  light  and  all  secure.    Sheets  of  examined  blank 


70  SHAW'S  MAGICAL  INSTRUCTOR. 

paper  and  pencil  placed  on  tambourine  in  lap,  messages  written  on 
several  to  several  people  present.  Assistant  now  places  a  board,  a 
couple  of  nails  and  a  hammer  on  a  chair  near  you.  You  again  do 
the  contortion  act,  get  hold  of  chair,  get  it  up  next  to  you,  get  a 
nail  in  left  hand  and  hammer  in  right  and  drive  nail  half  way 
through  board,  using  perhaps  two  nails,  replace  hammer  and  board 
on  chair  and  shove  same  back  to  former  position;  this  is  one  of  the 
best  tests.  Now  have  one  of  committee  blindfolded,  then  a  chair 
placed  on  your  left  close  to  you;  he  sits  there,  places  his  left  hand 
on  your  left  knee  and  his  right  on  top  of  your  head  (see  fig.  52)  ,and  is 
cautioned  not  to  move  or  remove  his  hands.  A  light  guitar  is  laid 
upon  your  lap  its  head  toward  your  right,  and  a  large  twelve  inch 
ring  on  its  end,  cabinet  closed.  You  take  hold  carefully  of  guitar 
by  its  head,  lift  guitar  and  ring  up  and  let  latter  drop  over  his  head 
(see  fig.  53),  then  grasping  same  by  neck  you  rap  him  a  couple  of  times 
on  head  and  thump  strings,  moving  it  around  his  head,  and  he 
believes  guitar  is  floating  around  cabinet,  finally  lean  it  up  against 
him,  its  neck  upon  his  right  arm,  light,  and  all  secure  and  he  knows 
nothing.  The  last  test:— You  have  assistant  place  a  knife  in  your 
lap  and  close  cabinet,  get  knife  and  sever  strips  around  waist  at 
"back"  of  each  hand,  leaving  knots  still  secure,  cut  each  strip  at 
front  of  each  arm,  and  neck  strip  in  front,  then  replace  knife  in 
chair  and  step  out  of  cabinet,  "free."  Committee  examine  knots 
and  find  all  undisturbed.  It  was  the  self-acting  knife.  The  spirit 
carpenter  drove  the  nails.  At  first  glance  the  above  may  look  'im- 
possible but  it  is  correct,  and  as  the  there  is  no  release,  detection  is 
absolutely  impossible.  A  little  practice  should  make  you  quite 
proficient;  quickness  of  action  is  the  most  important  thing.  Of 
course  the  committee  can  use  their  own  ring  and  screw  if  they 
wish. 

THE  MYSTERIOUS  COIN:- 

Fiveor  six  coins  are  produced  and  a  person  is  requested  to 
select  one,  hold  it  tight  in  his  hand,  tell  him  to  remember  the  date 
then  hold  his  hands  in  front  of  him,  the  performer  makes  a  few 
motions  as  if  to  hypnotize  him,  at  the  same  time  tell  him  to  keep 
his  mind  on  the  date,  then  request  him  to  throw  all  the  coins  to- 
gether in  a  hat  and  shake  them  up,  the  performer  then  takes  the 
hat,  holds  it  behind  him  and  picks  out  the  coin  first  selected. 

Explanation:— The  heat  from  the  hand  will  warm  the  coin 
and  it  can  very  easily  be  told  from  the  others  by  feeling,  as  the 
others  will  be  cool.    This  is  a  very  clever  trick  for  the  parlor. 


SHAW'S  MAGICAL  INSTRUCTOR. 


71 


EXTRAORDINARY  FLIGHT  OF  COINS:- 

Performer  rolls  both  sleeves  up  to  elbows  and  proceeds  to  catch 
five  ordinary  half-dollars  from  the  air,  and  places  them  all  in  palm  of 
left  hand  and  closes  it;  he  then  announces  that  the  coins  will  leave 
his  hand,  and  upon  opening  hand  finds  that  the  coins  have  flown, 
and  are  immediately  produced  from  some  gentleman's  whiskers  or 
elsewhere,  at  option  of  performer.  This  is  especially  recommended 
to  performers  of  ability  wishing  something  novel  and  skillful. 

Secret: — Take  five  half-dollars  and  drill  a  hole  through  each 
one,  from  one  milled  edge  to  opposite  edge.  String  the  five  coins  onto 
a  thread,  and  tie  one  end  of  thread  to  your  finger  ring,  and  run  the 

thread  along  arm,  up  sleeve, 
(see  fig.  54),  and  down  under 
vest  and  tie  end  to  button 
on  vest;  thread  should  be  ad- 
justed to  proper  length  so  you 
can  slack  or  tighten  it  as  you 
[Fig.  54.]  wish,  by  natural  movement  of 

the  arm.  By  lowering  hand  coins  will  travel  down  thread  to  back 
of  the  hand,  and  by  raising  the  hand  coins  will  run  down  to  the 
elbow.  After  rolling  up  sleeve,  commence  by  showing  hands  empty 
both  back  and  palm,  then  while  palm  is  still  toward  spectators,  drop 
hand  slightly,  which  will  cause  coins  to  run  down  on  back  of  the 
hand  as  far  as  finger  ring.  Call  particular  attention  again  to  palm 
of  hand  being  empty;  now  make  a  grab  at  the  open  air,  at  the  same 
time  slacking  the  string,  and  throwing  coins  around  into  the  hand; 
now  close  hand  on  coins  but  leave  room  between  fore-finger  and 
thumb  for  them  to  pass  out  on  to  the  back  of  the  hand  as  you 
straighten  your  arm,  which  causes  slack  to  be  taken  up  and  coins 
disappear  from  palm  to  back  of  hand. 


MARVELOUS  VANISHING  AND  RE-APPEARING  COIN:- 

A  borrowed  dollar  or  half-dollar  is  placed  on  the  back  of  right 
hand.  Upon  being  rubbed  with  finger  tips  of  left  hand  coin  mys- 
teriously disappears.  Both  hands  are  shown  empty,  back  and  front, 
fingers  spread  apart,  and  sleeves  rolled  up  to  elbow  before  perform- 
ing trick.  Upon  rubbing  right  hand  again  with  finger  tips,  coin  is 
found  to  have  re-appeared  on  back  of  right  hand. 

Secret:— Take  half-dollar  and  drill  a  hole  through  it,  from  one 
edge  to  opposite  edge;  string  it  on  a  horse  hair  or  fine  thread,  fasten 
one  end  of  thread  to  one  end  of  finger  ring  on  middle  finger,  (inside), 


72 


SHAW'S  MAGICAL  INSTRUCTOR. 


and  on  other  end  fasten  just  above  elbow  to  rubber  band  around 
left  arm.  This  thread  acts  as  a  track  for  coin  to  travel  up  and 
down.  Have  a  second  thread  attached  to  the  coin,  and  run  it  up 
and  down  the  body  and  legs,  and  fasten  below  knee.     [See  fig.  55]. 

|  com  J/ 


Dotted  L//7PS 


S/?&ms  Str/n.t 


Rubber 
BcLnc/ 


[Fig.  55.] 
When  properly  adjusted  you  will  find  it  an  easy  matter  to  cause 
coin  to  travel  from  palm  of  hand  to  elbow,  and  vise  versa,  either 
slowly  or  as  rapidly  as  desired.  Arm  being  between  spectators  and 
coin,  it  is,  of  course,  impossible  to  see  coin  as  it  goes  up  and  down, 
or  enroute.  Several  different  effects  may  be  performed  by  this 
arrangement.  To  perform,  after  having  threads  properly  adjusted, 
place  coin  on  back  of  right  hand,  placing  finger  tips  of  left  over  it; 
then  by  slightly  straightening  legs  and  arm,  which  takes  up  the 
slack,  causes  coin  to  travel  up  to  elbow,  under  cover  of  sleeve,  and 
vice  versa. 


THE  VERY  LATEST  AERIAL  TREASURY:- 

Effect:— Performer  comes  forward  with  sleeves  rolled  up,  after 
showing  hands  entirely  empty  proceeds  to  catch  any  number  of 
coins  from  the  air,  "all  at  tips  of  fingers"  as  called  for  by  any  specta- 
tro,  say  any  number,  for  instance  20.    Coins  are  produced  "one  at  a 


SHAW'S  MAGICAL  INSTRUCTOR. 


[Fig.  56.] 


time  at  tips  of  fingers,"  until  all  are  produced;  coin  can  be  heard 
distinctly  as  it  strikes  the  other  coins.  When  all  the  coins  are  pro- 
duced, they  are  spread  out  in  a  very  pretty  manner  at  tips  of  fingers, 
making  a  very  beautiful  finish. 

Secret:— Have  coins  lying  handy  on  table  or 
servante.  After  showing  hands  empty  and  rolling 
sleeves  up  to  elbow,  pick  up  wand  with  right  hand 
at  the  same  time  palming  coins  five,  ten,  fifteen 
or  twenty  in  number,  as  the  case  may  require, 
pointing  in  the  air  with  wand — remark  that  there 
seems  to  be  a  great  many  coins  floating  around 
promisciously.  Transfering  wand  to  the  left  hand 
proceed  to  make  a  grab  in  the  air  with  your  right 
hand,  at  the  same  instant  producing  one  of  the 
palmed  coins  to  tips  of  finger  and  thumb.  This  is 
done  by  catching  coin  on  top  of  stack  in  the  palm 
with  second  and  third  fingers,  (see fig.  56),  introduc- 
ing the  coin  at  the  tips  of  index  finger  and  thumb. 
Repeat  operation  until  all  the  coins  are  produced 
in  the  same  manner. 
CAGLIOSTKO'S  SPIRIT  SLATE:- 

I  will  combine  the  effect  and  secret  of  this  trick.  It  is  as 
follows:  Procure  a  pin  and  an  ordinary  book-slate,  scratch  the  de- 
sired message  on  either  flap  of  the  slate,  rather  deep;  this  has  the 
exact  appearance  of  slate  pencil  writing,  but  when  wet  it  cannot 
be  seen,  unless  inspected  very  closely.  Have  a  damp  napkin  handy, 
show  slate,  and  make  some  fancy  scriblingon  each  flap  in  full  view 
of  audience,  making  suitable  remarks;  then  wash  all  sides  with  the 
damp  napkin,  and  while  the  slate  is  thus  quite  wet,  walk  among 
the  audience,  holding  the  slate  up  to  their  very  eyes  for  inspection, 
but  do  not  let  it  out  of  your  hands.  Remark!— You  see  there  is  no 
writing  on  it.  Return  to  the  stage  and  wipe  slate  dry  with  the 
dry  end  of  napkin,  drop  piece  of  pencil  on  slate,  close  and  tie  up. 
Now  give  the  slate  to  some  person  to  hold  up  over  their  head,  and, 
after  a  little  while,  during  which  time  you  make  some  remarks  as 
to  what  the  spirits  can  do;  have  person  open  slate  and  read  the 
message.  [Always  allow  time  enough  for  writing  to  dry  thoroughly]. 
After  opening  slates  you  can  pass  them  for  examination,  and  should 
any  one  ask  you  to  erase  the  writing,  wet  your  finger  and  do  so 
under  their  eyes.  When  well  worked  up  it  is  an  excellent  slate 
trick. 


74 


SHAW'S  MAGICAL  INSTRUCTOR. 


[Fig.  57.] 


AFTEB,  THE  BALL. 

A  large  mirror  set 
in  a  handsome  frame  is 
seen  standing  on  the 
stage.  A  glass  shelf  is 
placed  on  brackets  in 
front  of  mirror,  about 
three  feet  from  the  floor. 
On  this  glass  shelf  a 
lady  takes  her  position 
and  a  screen  is  placed  in 
front  of  her  so  as  to  hide 
her  from  view,  but  the 
top,  bottom  and  sides 
of  mirror  are  seen  by 
audience  all  the  time; 
after  a  few  moments 
have  elapsed  the  perfor- 
mer removes  the  screen 
and  lady  has  disappear- 
ed. 

Secret:— The  secret 
of  this  most  beautiful 
and  astonishing  illusion 
is  a  simple  one.  Fig.  57, 
shows  a  front  view  of 
mirror  with  glass  shelf 
in  place;  fig.  58,  shows 
the  sliding  mirror  "B", 
both  lowered  and  raised; 
fig.  59,  shows  a  section- 
al side  view.  The  frame 
that  holds  the  mirror  is 
nine  feet  high  and  three 
feet  wide.  The  top  part 
of  frame  is  eighteen 
nches  high.  "A"  is 
permanent  mirror,  "B" 
sliding  mirror,  "C"  is 
glass  shelf  or  platform, 


SHAW'S  MAGICAL  INSTRUCTOR. 


75 


"D"  wooden  platform  at 
back  of  mirror,  "E"  pul- 
leys over  which  cords  run, 
"F"  weights  to  act  as  a 
counterbalance,  "G"  limit 
or  check  to  mirror  when 
raised.  The  mirror  "B" 
has  a  piece  cut  out  as 
shown  in  fig.  58.  The  lady 
raises  the  mirror  while  the 
screen  is  in  position  on 
glass  shelf  "C,"  and  goes 
through  opening,  and  re- 
mains on  shelf  "D"  at  back 
and  pulls  down  the  mirror 
and  screen  is  removed  by 
performer.  Mirror  "A"  is 
in  position  all  the  time, 
and  the  prong  of  mirror 
"B"  is  behind  it,  when 
down.  Mirror  "B"  is  bal- 
anced by  weights  working 
in  the  two  uprights  of 
frame.  The  shelf  "D"  at 
back  is  eighteen  inches 
lower  than  shelf  "A"  at 
front,  and  about  twelve 
inches  from  stage  floor. 

THE  MYSTIC   CARD:— 

Borrow  a  handkerchief 
and  place  it  on  the  table, 
ask  a  person  to  select  a 
card  from  the  pack,  which 
you  take  and  tear  to  pieces 
and  load  in  a  pistol;  throw 
the  handkerchief  into  the 
air  or  let  some  one  do  it 
for  you,  shoot  at  it— and 
the  card  in  the  pistol  will 
be  found  printed  on  the 


16 


SHAW'S  MAGICAL  INSTRUCTOR. 


[Fig.  59.] 


handkerchief. 

Secret:— Have  the  fig- 
ures of  a  card  printed  in 
relief,  on  a  small  board; 
rub  the  figures  of  this 
sample  with  powdered  Ver- 
million if  the  card  is  red; 
if  black,  take  soot  or  black- 
ed cork.  Some  parties 
paint  the  figures  with  the 
same  colors  dissolved  in 
water,  but  you  must  be 
very  quick  in  doing  this 
trick  on  account  of  the 
short  time  these  colors 
keep  moist;  the  safest  way 
is  to  put  oil  colors  on  these 
spots,  it  will  not  spoil  the 
handkerchief.  The  board 
thus  prepared,  is  placed 
on  your  table  behind  some 
object,  or  sunk  in  flush 
with  table  top.  When  you 
place  the  borrowed  hand- 
kerchief on  the  table  to 
fold  it  up,  you  simply  press 
it  on  this  stamp,  the  rest 
is  clear;  throw  up  handker- 
chief and  shoot,  then  un- 
fold it  to  show  card  which 
was  a  "forced"  one,  of 
course.  This  trick  takes 
very  well  and  is  easily 
worked. 

PHOTOGKAPHIE  MYS- 
TERIEUSE:- 

This  new  and  excel- 
lent trick  is  in  effect  as 
follows:  Performer  hands 
out  several  slips  of  paper 
and  as  many  pencils  for 


SHAW'S  MAGICAL  INSTRUCTOR.  77 

any  persons  to  write  the  name  of  any  celebrity  on  their  paper,  the 
slips  are  then  collected  in  a  borrowed  hat.  Meantime  the  perfor- 
mer borrows  a  watch,  which  he  wraps  up  in  a  borrowed  handker- 
chief. Now  any  lady  selects  a  slip  of  paper  from  the  hat,  name 
read,  slip  is  burned,  and  the  ashes  put  in  pistol  and  fired  at  the 
handkerchief,  which  is  unwrapped,  and  in  the  watch  is  found  a 
photograph  of  the  person  whose  name  was  selected  by  the  lady. 

This  fine  trick  is  worked  as  follows:  Get  twenty  or  thirty 
slips  of  paper,  two  inches  long  by  three-quarters  wide.  On  half  of 
these  cards  write,  say— Mrs.  Langtry,  and  fold  them  up  until  they 
are  about  one-quarter  inch  across  and  three-quarters  in  length,  i,  e, 
in  eight  folds,  and  secret  them  in  your  pocket  or  vest.  Advance 
with  an  equal  number  of  pencils,  and  the  remaining  slips  of  paper, 
on  which  ask  several  members  of  the  audience  to  write  the  name 
of  any  celebrity.  While  this  is  being  done,  borrow  a  watch,  also  a 
handkerchief,  and  in  wrapping  watch  in  handkerchief,  open  it 
and  slip  in  it  a  head,  cut  from  a  cabinet  photo,  in  this  case  (Mrs. 
Langtry),  and  give  the  watch,  wrapped  in  the  handkerchief,  to  any 
person  to  hold  up  over  his  head.  Gather  in  the  slips  of  paper  and 
among  them  put  one  of  your  own  prepared  ones.  Have  the  names 
read  out  from  all  the  papers,  one  by  one,  and  as  they  are  read  and 
refolded  and  given  to  you.  When  all  have  been  read,  put  apparently 
these  papers,  but  really  your  prepared  bundle,  into  a  hat,  from 
which  ask  a  lady  to  draw  one;  as  they  are  all  alike  it  matters  not 
which  one  is  chosen.  Take  chosen  slip  and  burn  it,  put  ashes  in 
your  pistol  and  fire  at  watch,  which  on  being  opened  is  found  to 
contain  photograph  required. 

LaCREMATION:- 

The  apparent  burning  of  a  living  lady,  in  full  view  of  an  au- 
dience, is  quite  sensational.  There  are  many  methods,  some  of 
which  are  good,  and  I  have  seen  some  that  were  very  poor.  The 
following  method  is  one  of  the  best,  and  very  effective  if  properly 
presented. 

Secret:— The  table  used  for  this  trick  looks  like  a  box  with- 
out front  or  back,  standing  on  four  legs— (see  fig.  60).  The  top  of 
the  table  "A"  is  only  one-quarter  inch  thick  and  made  of  brass. 
The  under  side  of  "A"  is  lined  with  black  velvet;  next  to  velvet  is 
a  mirror;  this  mirror  is  hinged  to  the  back  edge  of  "A"  in  such  a 
manner  that  it  can  be  swung  down,  and  the  front  edge  of  the  mir- 
ror will  then  rest  on  the  front  edge  of  "B."     A  moulding  runs 


78 


SHAW'S  MAGICAL  INSTRUCTOR. 


all  around  "A"  and  "B."  A  pin  fits  in  a  small  hole  "C"  and  holds 
the  mirror  up  against  "A."  The  box  is  painted  black  inside.  The 
table  can  now  be  pushed  all  around,  and  back  and  front  shown.  A 
lady  is  introduced  and  requested  to  stand  upon  the  table.  A  wire 
frame  covered  with  muslin  is  placed  over  lady.     The  bottom  of  the 


[Fig.  60.] 
table  box,  "B"  consists  of  two  boards  with  a  space  between  them 
large  enough  to  contain  a  plate  of  iron,  which  slides  in  and  out 
like  a  drawer— (see  fig.  61).  After  you  have  placed  the  frame  over 
the  lady,  your  assistant  pulls  out  the  slab  about  half  way.  He  does 
this  while  sprinkling  spirits  on  the  muslin.  The  slab  now  forms  a 
shelf  behind  the  table  box.    At  the  same  time  the  performer  re- 


[Fig.  61.] 
leases  the  pin  "C"  at  the  front,  which  allows  the  mirror  to  drop 
down.    Performer  makes  some  remarks  on  cremation,  and  while  he 


SHAW'S  MAGICAL  INSTRUCTOR. 


79 


is  talking  the  lady  cuts  the  muslin  in  the  back  of  frame  and  crawls 
over  the  back  edge  of  "A"  and  onto  the  iron  plate.  Performer  now 
sets  fire  to  the  muslin  and  when  it  has  burned  away,  removes  the 
frame,  and  shows  that  lady  has  vanished.  A  black  velvet  curtain 
hangs  at  the  back  of  the  stage,  and  when  the  mirror  is  down  the 
top  of  "A"  is  reflected  in  mirror  and  looks  like  back  of  stage. 

THE  CEYSTAL  COFFIN :- 

In  the  middle  of  stage,  hanging  from  four  handsome  chains, 
is  a  large  coffin.  Sides  and  ends  are  of  heavy,  transparent  plate- 
glass.  A  young  lady  or  gentleman  is  introduced  and  placed  in  the 
coffin  and  lid  closed;  on  performer  shooting  at  it,  the  person  dis- 
appears from  inside  of  same,  and  appears  at  the  same  moment  in 
the  gallery  of  theatre. 

Secret:— Fig.  62,  shows  the  coffin  as  it  appears  on  the  stage, 
with  person  in  it  who  is  to  disappear.  "H'-'H"  is  a  curtain  that  hangs 
about  three  feet  behind  the  coffin.  The  top  and  bottom  of  coffin  is 
wood,  the  two  ends  and  both  front  and  and  back  are  of  plate-glass. 


[Fig.  62.] 
On  the  inside  of  ends,  two  strips  of  black  paper  are  pasted;  they 


80 


SHAW'S  MAGICAL  INSTRUCTOR. 


run  from  corner  to  corner,  "A'-' A" — (see  fig.  63).  The  lid  is  on 
hinges  at  upper  edge  "L."  There  is  fastened  to  the  under  side  of 
the  lid,  a  large  mirror;  this  mirror  is  fastened  by  two  hinges,  to  the 
back  edge  of  lid,  so  when  the  lid  is  closed  the  mirror  will  drop 
down  in  casket— as  shown  by  dotted  lines— (see  fig.  63).  The  bottom 
side  of  mirror  is  painted  to  represent  the  wood  of  lid.  The  mirror 
is  held  against  the  lid  by  means  of  a  short  bolt.  The  lid  proper  is 
lined  with  a  piece  of  red  cloth  similar  to  the  curtain,  "H'-'H,"  so 
when  the  coffiin  is  raised  by  the  chains,  and  the  party  in  coffin  pulls 
the  bolt,  the  mirror  drops  down,  its  ends  resting  against  one  of  the 
cross  pieces,  "A'-' A".  The  upper  half  of  the  other  one  is  reflected 
in  the  mirror,  and  gives  the  appearance  of  extending  across  the 
same— as  before  the  mirror  falls.    The  red  lining  of  the  lid  reflects 


[Fig.  63.] 
in  the  mirror  and  causes  the  spectators  to  imagine  they  still  see 
the  curtain,  "H'-'H,"  at  the  back,  through  the  coffin.  There  are 
two  persons  used  who  resemble  one  another,  and  dressed  alike. 
When  one  gets  into  the  coffin,  the  other  slips  around  behind  the 
audience  and  into  the  gallery.  When  everything  is  ready  the  per- 
former fires  gun,  standing  near  one  end  of  coffin,  at  the  same 
moment  the  person  in  coffin  pulls  the  catch  down  and  mirror  falls; 
the  smoke  concealing  the  edge  of  mirror  as  it  falls.  At  the  same 
moment  second  person  hallows  from  the  gallery  and  comes  running 
down  to  stage.  The  audience  take  party  for  the  same  person  who 
was  placed  in  coffin.  The  lights  in  theatre  and  on  stage  should  be 
lowered  a  little. 


THE  IRON  CAGE  TEST:- 

For  this  act,  a  canopy  is  erected  on  a  platform,  which  is 
about  four  feet  square,  and  raised  about  twelve  inches  above  tbe 
stage  floor.    The  frame  work  of  canopy  is  of  gas  pipe,  (see  fig.  64), 


SHAW'S  MAGICAL  INSTRUCTOR. 


81 


and  the  curtains  are  hung  on  frame  with  rings.  There  is  a  cage 
made  of  wire  netting  which  will  go  over  the  medium  when  he  is 
seated  on  a  chair.    After  being  bound  to  the  chair  this  cage  is 

placed  over  medium  and  firmly 
screwed  to  the  platform.  Cur- 
tain of  canopy  is  closed,  and  im- 
mediately hands  and  faces  are 
seen  above  and  through  the  open- 
ings in  the  canopy— curtain 
opened,  and  medium  is  still 
bound,  and  the  cage  screwed  to 
the  platform  as  at  first. 

To  do  this  you  have  flesh- 
colored  gloves  and  faces,  made 
of  thin  rubber;  you  also  have  a 
Telescopic  reaching,  rod,  made 
of  thin  brass  tubing,  which  can 
be  stretched  to  a  length  of  four 
feet— (see  fig.  65);  these  are  con- 
cealed about  the  medium's  per- 
son. On  the  small  end  of  the 
rod  is  a  hook  by  the  aid  of  which 
you  can  pick  up  such  articles  as 
a  bell,  tambourine,  guitar,  etc., 
Have  a  ribbon  bow 
in 


Cabinet  and  Gaye 
[Fig.  64.] 
placed  on  the  platform,  outside  of  the  cage, 
tied  on  all  these  articles  so  that  you  can  easily  catch  the  hook 
them.  To  the  wrist  of  glove  is  attached  a  piece  of  wood  with  a  hole 


in  it,  into  which  you  can  fit 
the  small  end  of  the  rod.  In 
this  manner  you  can  blow  up 
the  hands  and  faces.  Shove 
the  hands  and  faces  through 
the  squares  in  the  wire  net- 
ting of  cage,  then  blow  them 
up  and  stick  them  through 
the  openings  of  the  curtain, 
so  as  to  appear  on  the  outside 
but  do  not  allow  the  rod  to 
show.  After  finishing  the 
manifestations,  conceal  the 
properties  about  your  person 


Reaching  Rod,    Open 


Kid  Glove  with 
wooden  block  at  wrist 

Rubber  mask 
mounted  on  wooden  back 
[Fig.  65.]" 


82  SHAW'S  MAGICAL  INSTRrCTOK. 

and  allow  everything  to  be  examined.  Have  committee  ten  or 
twelve  feet  away  while  tests  are  going  on;  also  have  a  fish  horn 
arranged  so  that  you  can  attach  it  to  the  reaching  rod.  Of  course 
you  can  use  any  of  the  many  rope  tests,  as  you  only  require  the  use 
of  your  hands. 

NEW  DANCING  CAKDS:- 

In  some  tricks  it  is  necessary  to  lay  a  single  card  on  the  table 
so  the  audience  can  keep  it  in  sight.  To  turn  this  little  incident 
into  a  pleasing  trick  ask  some  one  to  do  this  for  you,  of  course  it  is 
done,  but  you  remark: — that  in  a  lying  position  the  card  cannot  be 
seen  by  the  audience,  therefore,  you  ask  him  to  make  it  stand  on 
one  end;  he  tries,  but  gives  it  up.  You  say!— I  advise  you  to  go 
through  a  course  of  gymnastics,  to  make  yourself  familiar  with  the 
equilibrium  of  objects.  You  take  the  card  and  place  it  on  the  table 
and  it  stands  up  on  end,  you  take  it  up  again  and  ask  the  person  to 
examine  it  well,  to  make  sure  there  is  no  deception  about  it.  You 
stand  the  card  up  again  and  leave  it  so  as  long  as  you  may  require 
to  do  the  trick.  This  little  incident  always  makes  a  clever  im- 
pression. 

Secret:—  To  do  this  take  a  very  thin  piece  of  copper  or  brass, 
about  one  and  a  half  inch  long,  and  bend  about  one  third  of  it  at  a 
right  angle— (see  fig.  66).  On  side  "A"  put  a  little  wax,  hold  this 
fake  in  your  left  hand,  take  the  card  with  the  right  and 
passing  it  over  to  the  left,  press  the  back  of  card  against 
the  side  "A"  so  that  surface  "B,}  lies  level  with  the 
lower  edge  of  the  card,  this  motion  must  be  made. quick- 
ly and  being  natural  it  will  not  be  noticed.  Place  the 
card  upright  on  the  table,  facing  audience,  and  of  course 
[Fig.  66.]  it  will  remain  in  a  standing  position.  Now  to  make 
the  card  dance  or  promenade  you  must  have  a  fine  black  silk  thread 
stretched  across  the  stage  or  room,  one  end  fastened  about  the 
height  of  the  card,  the  other  end  in  the  hand  of  your  assistant. 
Further,  the  piece  of  copper  must  be  bent  in  a  hook  on  the  upper  end 
of  surface,  and  the  long  surface  must  be  higher  than  the  one  above 
described,  so  that  the  card  hanging  on  the  hook  does  not  move. 
After  you  have  stood  up  the  card,  let  it  be  examined  and  replaced. 
You  announce  that  this  card  which  must  be  a  Queen,  stands  so 
firmly  that  if  the  audience  wishes,  it  will  dance  a  polka  if  one  of 
the  ladies  will  play.  Find  some  one  willing  to  do  so,  then  hang  on 
the  thread,  the  hook  behind  the  card,  the  card  attached  to  front 


SHAW'S  MAGICAL  INSTRUCTOR.  83 

of  it  of  course,  and  the  assistant  must  do  his  best  in  keeping  time 
to  the  music  by  pulling  the  thread;  after  a  moments  dance  you  take 
off  the  card  and  have  it  examined,  while  you  palm  the  fake  in  your 
hand.  It  is  advisable  to  place  the  thread  so  that  the  assistant  can 
remove  it  as  soon  as  the  trick  is  done,  in  which  case  you  could  ask 
the  audience  to  come  up  and  examine  the  table  if  they  desire  to  do 
so. 


CLAIRVOYANT  CARD  TRICK:- 

Three  persons  each  think  of  a  card,  and  performer,  by  clair- 
voyance, writes  down  their  names  on  three  slips  of  paper,  and  puts 
them  in  a  glass.  They  are  then  asked  to  remove  their  cards  from 
the  pack,  which  is  counted,  and  of  course  the  three  cards  are  miss- 
ing. Pack  is  placed  on  another  glass,  and  the  three  selected  cards 
in  a  card-box,  from  which  they  vanish,  and  on  recounting  the  pack 
it  is  found  that  the  three  cards  have  gone  into  it,  and  on  opening 
the  papers  the  names  written  thereon  are  found  correct. 

Secret:— Assistant  has  four  slips  of  paper,  one  for  each  suit, 
two  words  on  each,  thus: — of  clubs — of  hearts — of  spades  and  of 
diamonds,  concealed  on  person.  On  table  is  a  pack  of  cards  with 
three  cards  removed,  which  performer  has  vested;  performer  pre- 
tends to  write  something  on  three  slips  of  paper,  rolls  them  up  and 
drops  them  into  a  glass,  when  cards  are  removed  from  pack,  he 
takes  pack,  goes  to  the  table  for  second  glass  and  changes  pack; 
assistant  brings  on  card  box  and  takes  away  first  pack,  sees  what 
cards  have  been  taken,  selects  three  slips  of  paper  and  fills  in  the 
missing  word  to  name  card,  and  rolls  up  same  as  performer  did  the 
first  three,  meantime  performer  has  pack  counted,  there  are  twenty- 
nine,  which  is  right,  at  the  same  time  he  palms  the  three  vested 
cards  and  adds  to  pack,  placing  all  on  second  glass.  Show  card-box 
empty,  have  the  three  cards  placed  face  down  in  the  box  and  put  on 
table — revesting  it  of  course.  In  passing  curtain,  assistant  slips 
him  the  prepared  slips  of  paper  with  names  of  cards  on.  Performer 
then  commands  the  cards  to  leave  the  box  and  return  to  pack, 
which  occurs,  and  pack  counted,  showing  thirty  two  cards  and 
box  empty.  Performer  takes  the  slips  of  paper  out  of  glass  and 
changes  for  the  prepared  ones,  and  reads  out  the  names,  which  are 
found  to  be  correct.  Any  method  can  be  used  instead  of  card-box. 
(to  change  cards),  and  as  more  than  one  of  a  suit  may  be  drawn, 
assistant  should  have  several  slips  of  paper  to  duplicate. 


84 


SHAW'S  MAGICAL  INSTRUCTOR. 


THE  ORIENTAL  BARREL  MYSTERY :- 

On  stage  is  seen  standing  a  platform,  about  twelve  inches 
high.  Performer  going  behind  platform,  pushes  a  sword  through 
underneath  it,  in  order  to  show  that  audience  can  see  beneath  it. 
He  then  shows  an  ordinary  newspaper  and  places  this  upon  the  plat- 
form. He  then  brings  forward  a  common  ash  barrel  and  puts  this 
on  top  of  the  paper  and  platform.  He  then  introduces  the  young 
lady,  with  whom  he  is  going  to  perform  the  illusion.  He  then 
gives  her  a  pistol  and  places  her  in  the  barrel,  and  tells  her  to 
crouch  down  so  that  he  can  put  the  cover  on.  Performer  then  asks 
lady  to  hold  out  the  revolver  and  one  of  her  hands  from  beneath 
the  cover,  so  audience  can  see  that  she  is  there  all  the  time.  The 
barrel  is  held  together  by  two  hoops,  one  at  the  top  and  one  at  the 
bottom,  and  by  a  piece  of  string  tied  around  the  center.  Performer 
commences  to  remove  the  hoops,  the  bottom  one  first  and  then  the 
top  one.  The  barrel  is  now  held  together  by  the  string  only.  Lady 
is  instructed  to  shoot  when  he  says  three.  Performer  counts  one- 
two— three,  and  at  the  word  "three,"  pistol  is  heard,  the  barrel 
falls  apart,  the  lady  is  gone.— Audience  look  up  in  the  gallery  and 
see  lady  standing  there. 


[Fig.  67.] 
Secret: — Fig.  67,  shows  the  barrel  as  it  appears  to  audience. 
The  bottom  of  the  barrel  has  a  trap  in  it— (see  fig.  68),     The  news- 
paper is  made  of  a  common  newspaper,  pasted  onto  a  piece  of  stiff 


SHAW'S  MAGICAL  INSTRUCTOR. 


85 


cardboard  which  also  has  a  trap  cut  in  it— (see  fig.  69).  The  bottom 
of  the  barrel  is  a  ring  of  wood,  to  the  inside  of  which  is  hinged  a 
star  trap,  and  to  the  outside  the  staves  of  the  barrel  are  hinged— 


[Fig.  68.] 
(see  fig.  70).    When  the  performer  introduces  lady  and  all  eyes  are 
fixed  on  her,  the  assistant  beneath  the  stage,  lowers  a  black  cur- 
tain between  the  two  front  legs  of  platform,  A-B— (fig.  67).  There  is 


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[Fig.  69.] 
a  black  screen  standing  some  distance  back  of  the  platform  and 
audience  looking  from  the  front  take  this  curtain  for  the  screen. 
When  the  lady  gets  in  the  barrel  she  stands  on  the  wooden  ring. 
When  she  is  told  to  crouch  down,  she  slips  through  the  traps  and 
hustles  to  her  place  of  appearance.     Immediately  the  assistant 


86  SIIAW's  MAGICAL  INSTRUCTOR. 

pushes  up  a  dummy  hand  and  pistol,  which  the  audience  take  to  be 
those  of  the  lady.  Performer  removes  the  upper  and"  lower  hoops 
and  inserts  a  knife  between  the  staves,  ready  to  cut  the  string 
when  he  counts  three.    Assistant  now  takes  in  the  hand  and  pistol 


[Fig.  70.] 
and  closes  the  traps.     Performer  cuts  string,   and  the  barrel  falls 
apart.    Lady  has  vanished  and  audience  hear  a  pistol  shot  up  in 
the  gallery,  and  on  looking  up  they  see  the  lady  standing  there. 

SPIRIT  SLATE  MYSTERY:- 

Performer  comes  forward  towards  audience,  bringing  an  or- 
dinary looking  slate,  a  sheet  of  newspaper  and  a  piece  of  chalk; 
paper  and  chalk  place  on  table  and  hold  slate  in  left  hand,  thumb 
on  one  side  and  four  fingers  on  the  other,  then  inform  audience 
that  there  is  nothing  written  on  either  side  of  slate,  but  to  satisfy 
them  further,  he  takes  a  cloth  and  thoroughly  cleanses  each  side  of 
slate.  Now  take  newspaper  and  place  slate  within  its  folds,  but 
suddenly  changing  his  mind,  informs  audience  that  if  he  covered  it 
with  newspaper  they  might  think  he  was  going  to  do  something  to 
the  slate,  or  change  it  in  some  way,  therefore,  to  prove  such  is  not 
the  case,  he  will  stand  slate  upright  on  his  table  in  full  view  of 
audience,  and  performer  does  so,  letting  it  rest  against  a  goblet  or 
anything  that  may  be  on  the  table.  Now  bring  forward  a  small 
slip  of  paper,  on  which  request  some  person  to  write  three  figures 
with  a  black  lead  pencil,  after  this  is  done  another  person  is  asked 
to  add  another  line  of  three  figures,  then  a  third  person,  and  lastly 
a  fourth  person  who  is  requested  to  draw  a  line  under  written 
figures,  and  then  fold  up  paper  which  is  then  handed  to  performer 
again.  Performer  now  returns  to  stage  and  requesting  some  person 
in  audience  to  come  forward  and  assist  him,  (but  this  person  must 


SHAw'S  MAGICAL  INSTRUCTOR.  87 

not  be  one  of  the  four  who  have  written  on  the  slip).  On  the 
gentleman  coming  forward  he  is  handed  the  slip  and  requested  to 
add  up  the  rows  of  figures  correctly,  and  after  doing  so  to  fold  up 
paper  and  put  it  in  his  vest  pocket,  and  he  is  then  to  fix  his  mind 
on  the  figures  or  numbers,  or  the  total  which  he  has  just  added  up. 
Performer  now  steps  to  gentleman's  side,  (right  side),  and  taking 
his  hand,  places  the  open  palm  against  his,  (the  performer's  fore- 
head), and  then  dropping  the  hand  suddenly,  says:— for  example, 
that  the  total  of  the  figures  amounts  to  3892,  which  is  found  to  be 
correct.  Performer  now  addresses  audience  and  says:— he  will  call 
on  the  spirit  of  some  great  man,  to  write  the  answer  on  the  slate. 
Performer  now  places  a  piece  of  chalk  on  the  frame  of  slate,  and 
turning  to  the  gentleman  on  the  stage,  tells-him  to  listen  intently 
and  he  will  hear  the  spirits  write  an  answer.  In  a  very  few  mo- 
ments you  can  request  the  gentleman  to  go  to  the  slate  and  open  it 
and  see  if  the  answer  has  been  written,  and  on  his  doing  so,  finds 
the  answer  written  legitible  in  chalk  on  the  slate,   signed  by  Mr. 

,  some  great  man,  whoever  you  select.     The  slate 

is  then  handed  around  for  examination  by  the  performer,  to  show 
that  it  is  just  as  he  represented— an  ordinary  slate  and  nothing 
more. 

Secret:— Slate  is  an  ordinary  one  but  has  another  very  thin 
flap  of  slate  fitting  exactly  into  the  frame,  and  on  the  underside  of 
this  slab  is  pasted  a  piece  of  newspaper.  When  the  slate  is  first 
shown,  this  loose  slab  is  held  in  position  in  the  frame  by  the  press- 
ure of  the  fingers,  and  when  the  performer  places  the  slate  between 
the  folds  of  newspaper,  he  places  it  with  loose  slab  "downwards" 
after  making  remarks  about  placing  slate  in  paper  etc.  When  per- 
former takes  slate  out  of  paper  he  leaves  loose  slab  lying  face 
downwards  in  paper,  and  as  the  back  is  pasted  over  with  a  piece  of 
newspaper  it  cannot  be  seen.  Performer  now  stands  slate  upright 
on  table.  Of  course  answer  is  written  on  slate  before  trick  is  com- 
menced. Performer  provides  himself  with  two  pieces  of  paper  ex- 
actly alike,  and  on  one  of  these  he  writes  four  lines  of  three  figures 
in  each,  which,  when  added  together,  will  correspond  with  writing 
on  slate;  this  paper  he  folds  up  and  retains  in  his  hand,  (palm  of 
hand),  and  hands  out  other  paper  for  audience  to  write  four  lines  of 
figures  of  three  numbers  in  each  line,  when  this  is  done  paper  is 
returned  to  performer,  who  changes  them  quickly  and  hands  pre- 
pared paper  to  gentleman  who  comes  up  to  add  the  numbers  to- 
gether, which,  when  added  up  correctly,  will  correspond  with  what 


88  SHAW'S  MAGICAL  INSTRUCTOR. 

is  already  written.     This  trick  never  fails  to  elicit  round  upon 
round  of  applause  when  worked  up  well. 

SPIRIT  PULL  TEST:- 

Use  a  good  smooth  rope  about  fifteen  feet  long  and  three- 
eights  of  an  inch  in  diameter.  Pass  it  to  the  committee  for  exami- 
nation, all  of  whom  are  requested  to  come  upon  the  stage.  Medium 
takes  a  chair  and  seats  himself  in  center  of  stage,  then  taking  the 
rope  passes  it  under  his  legs  to  center,  and  ties  two  ordinary  knots 
just  above  his  knees  and  unobserved,  pulls  this  into  a  slipknot  same 
as  in  handkerchief  trick,  which  is  the  secret  of  the  whole  business. 
Now  ask  the  committee  to  tie  your  wrists  together,  or  have  them 
appoint  some  one  to  do  it;  place  your  hands,  palms  together,  and 
allow  committee  to  tie  three  or  four  knots,  then  allow  the  entire 
ten  men  to  pull  on  rope,  five  on  each  side,  it  looks  to  audience  as 
though  your  very  wrists  would  be  cut  off,  and  of  course  you  make 
the  most  of  this  impression  by  asking  the  committee  if  they  are 
not  ashamed  to  rope  a  man  in  such  a  cruel  manner?  Please  exami- 
my  wrists  and  see  if  they  are  not  cut  off? — Then  give  me  a  little 
more  sympathy  by  tying  one  more  knot  and  also  place  a  coat  over 
my  hand,  or  arms,  you  know  that  spirits  develop  better  in  the  dark, 
that's  why  they  keep  spirits  in  the  cellar  for  development.  Now 
all  take  a  hand  in  another  pull,  and  in  less  than  half  a  minute  after 
it  is  placed  over  Medium's  hands,  he  slips  the  rope,  by  forcing  his 
hands  apart,  sideways,  and  freeing  them,  one  or  both,  usually  the 
right  hand,  and  pinches  or  slaps  one  of  the  committee  men,  then 
quick  as  a  flash  the  hand  is  replaced,  and  by  spreading  knees  apart 
slightly  the  rope  is  again  intact — to  their  great  surprise. 

THE  MAHATMA  MIRACLES:- 

This  is  an  excellent  anti-spiritualistic  exhibition  for  light 
seance.  A  cabinet  with  translucent  gauze  opening  in  front  curtain 
stands  on  stage,  and  is  freely  inspected  by  a  committee  from  the 
audience,  to  prove  there  is  no  double-back,  sides  or  top.  The  medi- 
um then  takes  a  seat  in  the  cabinet  and  passes  his  or  her  hands 
through  the  apertures  in  the  sides  of  cabinet  where  they  are  tied 
with  ribbons,  and  ribbons  held  by  committee  on  outside.  Curtain 
is  now  closed  and  not  withstanding  the  hands  being  held  by  com- 
mittee, manifestations  immediately  take  place,  such  as — bell  rings, 
musical  instruments  are  played— hands  and  faces  are  seen  through 
gauze  opening — an  empty  basket  placed  in   the   cabinet   becomes 


SHAW'S  MAGICAL  INSTRUCTOR. 


filled  with  flowers,  and  many  other  tests  take  place. 

Secret:— The  cabinet  is  an  ordinary  cloth  one,  on  a  raised 

platform  four  feet  square.    The  front  curtain  has  a  gauze  opening 

about  eighteen  inches  in  dia- 
meter, and  each  side  has  an 
opening  large  enough  to  al- 
low medium  to  pass  his  hands 
through — (see  fig.  71).  The 
legs  of  the  cabinet  are  eight 
inches  high,  and  one  of  the 
front  legs  is  hollow,  (see  fig. 
72),  or  you  can  have  both  of 
the  front  legs  hollow  if  you 
desire.  The  floor  of  cabinet 
is  laid  off  in  squares,  so  that 
one  of  the  squares  comes  over 
hollow  leg,  and  acts  as  a  trap, 
a  strong  screw-eye  is  screwed 
into  the  bottom  side  of  trap 
and  a  rope  attached  to  same. 
This  rope  passes  down  leg  and 
through  hole  in  stage  floor,  to 
your  assistant  under  stage, 
who  holds  trap  down  while 
the  audience  inspect  cabinet. 
Ribbons  or  ropes  are  tied  a- 
round  medium's  wrists,  then 
medium  takes  a  seat  on  chair 
in   cabinet   and    committee 


[Fig.  71]. 


pass  ribbons,   and  medium's 


hands  tbrough  holes  in  sides  of  cabinet,  and  hold  same  on  the  out- 
side. Curtain  is  now  closed  and  tests  occur,  such  as—musical  in- 
struments being  played— a  glass  of  water  is  placed  on  floor  of  cabi- 
net, curtain  closed,  and  audience  see  a  hand  pass  glass  of  water  to 
medium's  mouth,  curtain  opened  and  glass  found  empty.  A  bunch 
of  keys  borrowed  from  one  of  the  audience  is  placed  on  medium's 
lap,  curtain  closed,  when  some  one  brings  keys  from  front  of  house. 
A  newspaper  and  a  pair  of  scissors  are  placed  inside  of  cabinet,  in- 
stantly the  curtain  is  opened,  and  the  newspaper  is  found  cut  into 
beautiful  designs.  Ghosts  appear  at  opening,  also  faces  and  hands, 
in  fact  there  is  no  limit  to  the  number  of  tests  that  can  be  intro- 


90 


SHAw'S  MAGICAL  INSTRUCTOR. 


duced.  The  closing  test  is  called  "Precipitation,"  in  which  wing- 
ed and  feathered  animals,  such  as:  ducks,  doves,  etc.,  appear.  The 
doves  alight  on  medium's  shoulders.  In  order  to  accomplish  all  of  the 
above  tests  it  is  necessary  to  have  rubber  faces  and  hands,  a  long 
wire  painted  black,  a  rubber  ghost  painted  up  nicely,  and  a  stuffed 
glove  with  a  wire  running  up  and  down  each  finger;  this  glove  must 
be  painted  flesh  color.  The  assistant  under  stage  works  everything 
by  pushing  his  hand  and  arm  up  through  hollow  leg.  In  the  key 
test  assistant  pushes  a  wire  up 
through  hollow  leg  and  pulls 
down  keys,  which  are  carried  to 
front  of  house  by  some  one.  The 
paper  test  is  also  a  simple  one. 
Assistant  has  a  paper  already 
cut  into  designs,  under  stage,  he 
pulls  down  the  other  paper  and 
pushes  up  the  cut  paper  into 
cabinet.  For  the  glass  and  wa- 
ter test,  assistant  pushes  up  the 
stuffed  glove,  then  runs  his  own 
hand  up  through  hollow  leg  and 
places  glass  of  water  in  "fake" 
hand,  between  thumb  and  fore- 
finger, then  raises  glass  to  me- 
dium's mouth,  after  medium 
drinks  the  water,  assistant  low- 
ers hand  down,  takes  out  glass, 
and  pulls  hand  under  stage.  The 
ghost,  faces  and  hands  are  so 
arranged  that  you  can  fasten 
them  to  a  brass  tube  painted 
black;  after  assistant  pushes 
them  up  through  leg,  he  blows  [Fig.  72.] 

them  full  of  air  and  moves  them  in  front  of  gauze,  then  he  lets  air 
out  and  pulls  them  down.  Assistant  fills  the  basket  with  flowers 
by  passing  them  up  the  hollow  leg.  All  the  other  tests  will  now  be 
clear.  The  assistant  must  always  pull  trap  down  and  hold  it  tight- 
ly by  rope,  after  each  test.  Medium  gives  assistant  the  signal 
when  to  open  trap,  by  tapping  foot  on  trap.  The  cloth  of  cabinet 
should  be  of  some  dark  material. 


SHAW'S  MAGICAL,  INSTRUCTOR. 


91 


THE  PHANTOM  KNOTS:- 

A  fine  anti-spiritualistic  trick.  Performer  passes  a  common 
rope  forty  or  fifty  feet  in  length  to  audience  for  inspection,  proving 
conclusively  that  the  rope  is  perfectly  free  from  knots  or  any  pre- 
paration. On  receiving  the  rope  back  he  forms  it  into  an  ordinary 
coil  in  his  hand,  and  holding  one  end  of  rope  he  throws  coil  among 
audience— when  ten  to  twenty  hard  knots  are  seen  on  rope,  and  the 
audience  can  untie  the  knots  if  they  so  desire. 


[Fig.  73.] 
This  trick  mainly  depends  on  the  manner  of  coiling  the  rope. 
Instead  of  coiling  the  rope  in  the  usual  manner  do  it  as  follows: 


[Fig.  74.]      B 
Hold  the  rope  across  the  palms  of  hands  straight  in  front  of  you— 
(see fig.  73),  now  turn  your  right  wrist  in  toward  your  body  and 


[Fig.  75.] 
throw  back  of  hand  outwards,  this  makes  a  loop  in  the  rope- 


-(see 


92  SHAW'S   MAGICAL  INSTRUCTOR. 

fig.  74);  now  leave  this  loop  over  the  fingers  of  left  hand— (as  shown 
in  fig.  75).  When  you  have  made  sufficient  coils  and  placed  them  all 
on  left  hand,  the  end  "B"  of  rope  is  slipped  through  all  these  coils. 
Both  ends  of  rope  are  now  together  and  are  given  to  two  persons  to 
hold  while  coils  are  placed  into  a  hat.  When  you  run  end  of  rope 
through  the  coils,  it  forms  each  coil  into  a  knot.  You  now  place 
your  hands  in  the  hat  and  remove  the  coils,  helping  the  knots  along 
to  the  different  parts  of  the  rope,  otherwise  they  will  all  be  in  a 
bunch.  The  parties  holding  ends  of  rope  should  walk  away  from 
the  hat  in  opposite  directions,  when  the  medium  is  helping  coils 
out  of  the  hat. 

SPIRIT  CIRCLE,  UNDER  TEST  CONDITIONS:- 

On  a  board  the  size  of  a  table,  eyelets  are  carefully  arranged 
at  measured  distances  apart,  and  in  such  a  manner  that  there  are 
two  for  each  sitter,  whether  lady  or  gentleman;  one  eyelet  for  the 
right  hand  and  one  for  the  left.  Beginning  at  any  point  in  the  cir- 
cle, apiece  of  copper  wire  is  passed  through  the  sleeve  at  wrist  of 
the  first  sitter,  then  through  the  eyelet  in  the  board,  then  through 
the  other  sleeve  and  through  the  other  eyelet  and  so  on,  to  the  next 
sitter.  In  this  manner  the  wire  is  threaded  through  and  through, 
fastening  each  person  to  the  board.  The  company  including  the 
medium  being  interlaced.  The  ends  of  the  wire  are  then  tied  to- 
gether, joints  covered  with  paper  and  sealed  with  wax,  and  sewed 
and  tied  as  desired,  and  any  seal  is  set  thereon.  Now  the  lights 
are  extinguished  and  the  usual  manifestations  take  place. 

Secret:— The  medium  has  on  false  shirt  sleeves,  so  all  he  has 
to  do  is  to  slip  his  arms  out  as  soon  as  the  lights  are  extinguished, 
then  go  through  the  various  manifestations;  replace  his  arms  in  the 
sleeves  and  call  for  lights, and  all  can  be  examined  and  of  course 
is  found  O.  K.    Now  have  some  one  cut  the  wires. 

ELECTRICAL  COIN  SHUFFLE:- 

A  stack  of  thirty  half  dollars  is  shuffled  up  arm,  and  spread 
from  one  hand  to  another  in  a  very  mysterious  manner,  with  won- 
derful effect.  A  decided  novelty  in  the  coin  line  and  very  easy  to 
perform.    A  beautiful  finish  for  any  Coin  trick. 

Secret:— It  lies  in  having  the  coins  strung  on  a  string,  same 
as  in  the  electrical  pack  of  cards— (see  fig.  76).  Coins  have  two 
holes  bored  in  each  coin  near  opposite  sides,  and  strings  are  adjus- 
ted so  as  to  have  all  coins  an  equal  distance  apart.    By  taking  hold 


SHAW'S  MAGICAL  INSTRUCTOR. 


93 


[Fig.  76.] 
of  top  coin  of  string  with  one  hand,  and  the  lower  coin  with  other, 
you  may  shuffle  them  rapidly  apart,  or  up  the  arm,  same  as  with 
cards,  making  a  very  pretty  effect,  and  has  the  appearance  of  gen- 
uine skill. 


THE  BALANCING  COINS,  HAT  &  WAND: 

Performer  borrows  three  or  four  ordinary 
U.  S.  half  dollars  and  proceeds  to  balance  one 
of  the  coins  on  the  rim  of  a  hat,  then  places 
another  coin  on  top  of  the  first,  on  milled  edge, 
and  so  on  until  all  four  coins  are  balanced  in 
this  position  on  the  hat.  Hat  is  now  balanced 
on  top  of  wand. 

Secret:— Prepare  three  or  four  half  dollars 
by  drilling  a  hole  from  one  edge  to  opposite 
edge,  (any  jeweler  can  do  this  for  you).  Fig.  77, 
shows  coin  and  hat  balanced  on  wand.  "B'-'B" 
shows  where  point  "E"  shoves  up  and  down  by 
the  pressure  of  your  thumb.  "C"  shows  where 
rim  of  hat  rests  on  wand.  You  can  now  see 
how  easy  it  is  to  balance  one  coin  at  a  time,  on 
rim  of  hat.  "C"  also  shows  where  point  "A" 
comes  up  through  the  hole  in  wand.  "E"  is 
a  strong  steel  wire.  The  experiment  may  be 
varied  without  the  use  of  the  hat  with  fine 
effect,  causing  coins  to  balance  on  the  end  of 
wand. 

CLAIRVOYANT  FIGURE  READING:- 

Take  50  or  60  blank  cards,  number  them 
from  12  to  79,  leaving  out  20—30—40—50—60  and 
70;  then  multiply  them  in  the  following  man- 
mer  and  place  the  answer  on  the  other  side  of 
card,  and  they  are  ready;  all  you  have  to  do  is 
to  remember  the  manner  of  multiplying.    Mul- 


[Fig.  77.] 


94  SHAW'S  MAGICAL  INSTRUCTOR, 

tiply  the  second  figure  by  8,  the  first  figure  by  7,  second  figure  by  6, 
first  figure  by  4,  add  the  number  together  and  multiply  by  3.  For 
example:— take  card  No.  22,  the  following  figures  would  appear  on 
the  back  of  card— "161412812. 33  8  times  2  is  16,  7  times  2  is  14, 
6  times  2  is  12,  4  times  2  is  8,  2  times  2  is  4,  and  3  times  4  is  12. 
You  can  work  this  effective  act  either  in  Second  Sight,  or  a  person 
can  do  it  alone,  having  passed  the  cards  out  to  audience  and  as  soon 
as  they  call  off  a  number,  write  down  the  figures  on  back  of  card  on 
a  blackboard  quickly. 

MULTIPLYING  AND  DISAPPEARING  COINS:- 

Have  a  number  of  gold  or  silver  coins,  on  a  plate  or  tray  upon 
your  table.  You  must  make  a  "fake"  after  this  manner:  Get  a  piece 
of  gold  or  silver  paper,  (tinsel  paper  if  possible),  with  figured  lines 
on  it,  and  make  a  small  round  box  out  of  it,  like  half  a  pill  box. 
Paper  should  be  embossed  and  the  top  covered  with  a  piece  of  gold 
paper,  bottom  open;  make  this  of  such  a  size  as  to  be  equal  to  a  pile 
of  six  coins,  this  you  may  use  and  at  a  little  distance  it  will  look 
exactly  like  a  pile  of  coins.  Have  this  palmed  in  left  hand.  From 
tray  on  table  take  up,  say,  six  coins  in  right  hand,  square  them  up 
and  exchange  for  "fake"  in  left  hand,  (any  pass),  place  this  openly 
on  a  small  piece  of  white  paper  on  table  so  that  all  can  see  it.  Now 
pick  out  a  like  number  of  coins  and  place  them  in  front  of  a  china 
bowl  or  tray,  on  table.  Now  get  some  one  to  take  a  handful  of 
coins  from  plate  and  count  them  on  to  a  tray,  (multiplying  tray 
previously  loaded  with  a  number  equal  to  the  two  piles  you  have 
made  on  table),  pour  them,  (and  the  concealed  ones),  from  tray  into 
a  persons  hand  or  hat.  (You  may  palm  these  coins  if  desired,  thus 
dispensing  with  the  multiplying  plate).  Return  to  table,  pick  up 
coins  in  front  of  bowl  with  left  hand,  transfer  to  right,  (by  pass), 
drop  left  hand  and  as  you  pretend  to  pour  from  right  into  bowl 
drop  the  coins  from  left  into  profonde,  in  which  you  have  placed  a 
small  china  or  glass  bowl,  so  as  to  imitate  the  sound  apparently 
produced  by  other  hand.  Now  roll  up  the  other  packet,  (fake),  in 
paper.  You  now  command  coins  to  vanish,  show  bowl  empty,  burn 
paper  on  plate  and  show  all  trace  of  coins  gone,  and  then  have  in- 
creased coins  counted  in  hat.  The  above  "fake"  may  be  made  by 
taking  coins  and  pressing  with  thumb  a  piece  of  tin  foil,  by  which 
means  you  can  get  a  correct  and  perfect  impression  of  the  coins, 
which  cannot  be  detected  from  the  original,  but  "fake"  so  prepared 
needs  care  in  handling,  as  it  is  easily  crushed. 


SHAW'S  MAGICAL  INSTRUCTOR. 


95 


,"  OR  THE  DAUGHTER  OF  THE  CALIPH  OF  BAGDAD:- 

A  canopy  is  erected  over  a  chair  standing  on  the  stage.  Two 
gentlemen  selected  from  the  audience  are  seated  one  on  each  side  of 
the  chair.  The  medium  is  fastened  with  ropes  to  the  sides  of  the 
chair,  and  the  hands  are  held  by  the  committee.  At  a  given  signal 
the  medium  suddenly  vanishes  in  the  most  inexplicable  manner. 
This  illusion  has  created  the  greatest  sensation  wherever  pro- 
duced. 

Secret :— On  the  stage  is  the  following  apparatus:  Four  up- 
right nickel  plated  rods,  seven  feet  high  and  one  and  one-half  inch 


[Fig.  78.] 
in  diameter.    These  are  screwed  into  an  iron  plate,  one-half  inch 
thick  and  about  two  and  a  half  to  three  feet  square.      At  the  top 
these  are  connected  by  a  wooden  frame-work— (see  fig.  78).     The 


SHAW'S  MAGICAL  INSTRUCTOR. 


iron  floor  part  has  a  trap  cut  in  it,  which  is  hidden  by  a  few  brass 
mountings  which  run  checker  board  fashion  across  it.  The  trap 
opens  downwards.    To  the  frame  is  attached  a  curtain,  which,  at 

the  beginning  is  at  the  bottom.  The 
curtain  is  six  inches  shorter  than  the 
frame  work,  and  is  pulled  up  to  the 
top  by  ropes  which  run  over  pulleys 
and  gather  together  at  one  of  the 
poles.  Here  is  where  one  part  of  the 
trick  lies:  One  of  the  ropes  runs  in- 
side of  one  of  the  poles,  then  down 
through  the  plate,  and  is  connected 
with  a  spring  which  opens  the  trap. 
You  see  that  in  this  manner  when  the 
performer  pulls  up  the  curtain  he 
opens  the  trap  for  the  lady  himself. 
*  On  the  iron  floor  is  a  very  queer  chair, 
made  something  after  this  fashion: 
There  are  two  cast  iron  posts,  in  size, 
[Fig.  79,]  about  four  by  four  inches  at  the  base 

and  about  twenty  inches  high,  and  they  taper  slightly  from  bottom 
to  top — (see  fig.  79).  They  are  decorated  with  scroll  work  and  on 
one  side  near  the  top  is  the  head  of  a  Sphynx  in  relief.  The  chair 
is  fastened  to  the  top  of  these  two  posts  and  is  leather  covered, 
with  a  wooden  back,  and  at  the  front  is  a  foot  rest,  which  is  only 
six  inches  lower  than  the 
seat.  Now,  when  the  lady 
who  wears  a  male  costume 
sits  in  this  chair  and  puts 
her  feet  on  this  foot  rest 
her  knees  almost  touch  her 
chin.  On  the  two  posts  just 
above  the  Sphynx  heads 
are  two  tubes  through 
which  a  short  rope  runs. 
This  rope  is  knotted  close 
to  the  tubes  so  that  it  will 
not  pull    through    either  [Fig.  80.] 

way.  The  two  posts  are  hollow  and  the  iron  floor  has  two  holes  on 
which  the  posts  are  set.  The  two  sphynx  heads  open  outwards  but 
are  held  by  catches.    The  two  ropes  are  "faked,"  they  do  not  run 


SHAW'S  MAGICAL  INSTRUCTOR.  97 

through  the  tubes,  but  a  slack  runs  into  the  hollow  post  and  is  held 
by  a  catch,  which  is  released  by  the  same  spring  that  opens  the 
trap.  Now  conies  the  execution:  Lady  enters  and  seats  herself  on 
the  chair  and  places  her  feet  on  the  foot  rest.  The  committee  man 
ties  her  hands  to  the  ropes,  but  the  ropes  are  so  short  that  they 
will  not  go  around  twice;  when  this  is  done  the  performer  pulls  up 
the  curtain  from  the  bottom,  when  it  reaches  high  enough  to  cover 
lady's  form,  there  seems  to  be  a  hitch  as  if  the  ropes  are  caught  in 
the  pully,  this  gives  him  a  chance  to  pull  the  extra  rope  which 
opens  the  trap  and  releases  the  slack  in  the  short  ropes.  Lady  now 
slips  through  the  trap  which  she  closes  quickly.  The  closing  draws 
the  ropes  tight  again.  Performer  now  pulls  up  the  curtain  until  it 
is  clear  of  the  floor.  He  now  calls  attention  to  the  fact  that  audi- 
ence can  see  underneath,  so  the  lady  cannot  leave.  To  -show  that 
she  is  still  there  he  pulls  her  hands  out  on  each  side,  through  a  slit 
in  the  curtain.  Lady  has  placed  her  hands  up  through  the  posts, 
opened  Sphynx  heads  and  put  her  hands  out  through  slits.  Gentle- 
man takes  hold  of  her  hand  and  the  other  hand  holds  a  wand.  Per- 
former takes  hold  of  the  ropes  and  counts:  one — two— three,  and  at 
the  word  three,  he  quickly  pulls  down  the  curtain.  At  the  word 
three,  the  lady  drops  the  wand  and  gentleman  drops  her  hand,  she 
quickly  withdraws  both  hands  and  the  Sphynx  heads  close  automa- 
tically—lady  has  vanished!  If  done  at  a  theatre  the  lady  can  ap- 
pear at  the  door.  In  this  case  an  assistant  lady  must  put  up  her 
hands  as  soon  as  first  lady  is  gone.  Ladies  should  wear  similar 
rings.    Fig.  80  shows  an  enlarged  view  of  "A." 

THE  DISAPPEARING  HANDKERCHIEF:— 

This  trick  although  simple  is  one  of  the  .prettiest  sleight  of 
hand  feats  in  existence.  Use  a  fine  small  silk  handkerchief.  Be- 
tween the  joint  of  thumb  and  forefinger  of  the  left  hand,  (at  rear), 
conceal  a  small  piece  of  the  same  silk  rolled  up  into  a  ball.  Roll  up 
your  sleeves,  show  hands  empty,  have  handkerchief  examined  and 
taking  it  between  the  hands,  roll  it  up  into  a  ball  which  you  pre- 
tend to  pass  into  the  left  hand  but  really  palm  in  the  right.  Let 
silk  at  rear  of  thumb  expand  in  left  hand,  letting  audience  see  it. 
They  are  now  sure  that  the  handkerchief  is  really  there,  meanwhile 
you  get  rid  of  the  handkerchief  proper.  In  due  time,  join  hands, 
roll  up  the  bit  of  silk  into  a  ball  again  and  press  it  back  into  its 
former  hiding  place,  then  show  handkerchief  gone,  and  hands  emp- 


SHAW'S  MAGICAL  INSTRUCTOR. 


ty.  Cause  handkerchief  to  reappear  by  causing  silk  to  expand,  and 
let  it  be  seen,  then  vanish  the  silk  again  as  described  above. 

THE  BUNGALOW  ILLUSION:- 

A  lady  enters  an  open  skeleton  cabinet,  which  hangs  on  chains 
from  four  uprights  in  center  of  stage.  The  cabinet  is  about  three 
feet  above  the  stage  floor  and  is  surrounded  by  gentlemen  from  the 
audience.  A  small  fine  curtain  is  placed  around  the  hanging  cabinet 
so  that  only  the  lady  is  covered.  On  the  command  of  the  performer 
the  curtain  falls  down  on  stage  floor  and  the  lady  has  disappeared 
from  the  cabinet,  and  appears  in  the  gallery  of  theatre. 

Secret: — This  illusion 
consists  of  four  uprights, 
each  eight  feet  high.  From 
the  top  of  each  upright  is 
a  chain  which  suspends  a 
skeleton  cabinet— (see  fig. 
81).  The  skeleton  cabinet 
is  about  three  feet  square 
and  five  feet  high  and  is 
made  of  brass  tubing.  The 
bottom  of  the  cabinet  is  a 
wooden  frame  with  two 
spring  blinds  in  it,  which 
open  in  the  center  and  roll 
up  into  the  side  of  frame — 
(see  fig.  82).  The  blinds 
are  made  of  very  heavy 
canvas,  and  are  held  to- 
gether in  the  center  by  a 
small  catch.  The  top  of 
cabinet  is  composed  of  two 
tops,  one  of  which  is  sta- 
tionary and  the  other  is 
movable— (see  fig.  83),  it 
slides  up  and  down  on  the 
four  rods  of  the  cabinet 
[Fig,  81.]  and  will  form  a  false  top  or 

bottom,  according  to  which  position  it  is  in.  Around  the  top,  un- 
derneath the  wainscoting  are  four  rods— (see  fig.  84),  one  on  each 
side,  working  in  sockets  at  the  corners.     Each  rod  has  four  pins 


SHAW'S  MAGICAL  INSTRUCTOR. 


rivited  in  it.  On  the  stage  floor  under  the  cabinet  is  a  trap,  open- 
ing in  the  middle,  downwards,  and  they  are  counterweighted  so 
that  when  a  person  drops  through  they  return  to  their  place  again. 
A  square  carpet  or  rug  is  glued  over  the  trap,  and  the  carpet  is  cut 


[Fig.  82.] 
where  the  openings  are.    To  cover  the  cabinet  you  have  a  square 
curtain  which  is  ringed  at  the  top.  The  rings  are  the  same  distance' 
apart  as  the  four  pins  are  on  the  rods.    Two  of  the  rods,  one  at  each 


[Fig.  83,] 
side,  have  an  extra  pin  sticking  out  at  the  exact  middle,  with  a 
tongue  catch.    To  arrange  the  apparatus  you  turn  up  all  the  pins 
of  the  four  rods,  bring  up  the  false  bottom  and  place  it  against  the 


[Fig.  84.] 
top,  and  keep  it  up  with  the  tongued  catches— (see  fig.  85).  Now 
introduce  the  lady  and  after  the  usual  patter,  (having  committee 
on  stage,  etc.,)  you  place  some  steps  against  the  cabinet,  which  the 
lady  ascends  and  enters  the  cabinet.  You  now  hang  the  curtain 
around  by  means  of  the  pins  on  the  rod.  The  lady  now  spreads  her 
legs  and  stands  on  the  side  frame-work  of  the  bottom,  and  opens  the 


100  SHAW'S  MAGICAL  INSTRUCTOR. 

catch  in  the  middle  of  bottom  which  allows  the  blinds  to  roll  up 
into  the  side  of  frame,  this  leaves  the  bottom  of  cabinet  open.  Now 


.  Section  of  pivoted  ro6  showing 
Curiam  and  false  bottom  in  position 


[Fig.  85.] 
at  a  pistol  shot,  the  lady  pulls  the  tongue  catches  at  the  top  which 
permits  the  top  to  come  down,  and  with  it  the  curtain.  As  sosn  as 
the  curtains  touch  the  floor,  the  lady  drops  through  the  trap  in 
stage  floor  and  goes  around  to  the  front  of  Theatre.  As  soon  as 
the  false  bottom  ,trikes  the  frame  of  real  bottom,  the  two  tongued 
pins  sticking  out  at  each  side,  turn  up;  and  the  curtain  pins  turn 
down,  and  the  curtain  slips  off  and  falls  to  the  floor,  and  the  lady 
has  vanished.    All  of  this  must  be  done  very  quickly 

THE  SPIEIT  ANSWER:- 

Entirely  new  and  without  exception  the  most  effective  and 
unexcelled  Spirit  writing  ever  introduced,  for  stage  or  parlor.  Any 
spectator  in  audience  writes  a  question  on  a  blank  slip  of  paper, 
either  furnished  by  performer  or  themselves.  After  writing  ques- 
tion they  fold  it  up  and  place  it  in  an  envelope  or  their  pocket-book 
and  place  it  in  their  own  pocket.  While  spectator  is  writing  ques- 
tion, the  performer  can  either  leave  or  remain  on  stage,  or  in  a  room 
as  desired.  Performer  on  being  informed  that  spectator  is  all  ready 
at  once  writes  the  question  and  the  answer  to  same,  on  a  slate  or 
blackboard.  Spectator  now  produces  and  opens  envelope  and  the 
performer  is  found  to  be  correct. 

Secret: — For  this  test  you  must  have  a  table  arranged  as  fol- 
lows: The  legs  of  table  are  made  of  brass  tubing,  and  the  top  of  table 
must  be  nice  and  smooth.  You  also  have  a  piece  of  strong  string  at- 
tached to  the  center  of  a  piece  of  white  silk.  This  string  runs  down 
the  leg  of  table,  through  a  hole  in  floor  to  assistant  under  stage.  The 
silk  is  spread  on  table,  then  place  a  piece  of  Carbon  cloth  or  paper 
over  silk,  then  put  on  a  thin  table  cloth  and  tack  it  to  the  sides  of 
table  top.    Now  have  a  sheet  of  paper  and  a  hard  lead  pencil  on  the 


SHAWNS  MAGICAL  INSTRUCTOR.  101 

table  and  ask  some  one  to  write  a  question  on  the  paper,  (the  ques- 
tion is  transfered  onto  the  white  silk),  and  as  soon  as  the  question 
is  written  assistant  pulls  down  the  white  silk  and  reads  the  ques- 
tion and  tells  it  to  the  medium,  who  then  walks  up  to  the  person 
and  taking  hold  of  his  hand,  leads  him  to  a  blackboard  and  writes 
up  question  and  the  answer  to  same.  Party  takes  paper  out  of  his 
pocket  and  reads  aloud  the  question,  and  medium  is  found  to  be 
correct.  This  test  can  be  worked  in  many  ways;  it  can  also  be 
worked  in  parlor  by  having  the  floor  arranged  for  it. 


W.  H.  J.  SHAW, 

MANUFACTURER  OF 

MAGICAL   APPARATUS,    ILLUSIONS,    STAGE   EFFECTS,    and 

WAX  FIGURES  of  EVERY  DESCRIPTION. 

CHICAGO,  ILL. 


102  SHAW'S  MAGICAL  INSTRUCTOR. 


CONTENTS. 


PAGE 

Annie  Eva  Fay,  Cotton  Bandage  Test 65 

A  Live  Hat.  7 

Airy  Voyage  of  Performer  from  a  Chair 39 

After  the  Ball.  74 

Bloodstone  Wonder— The  53 

Baldwin  Act— The  63 

Balancing  Coins,  Hat  and  Wand.  93 

Bungalow  Illusion — The  « 98 

Clairvoyant  Figure  Reading  93 

Charmed  Organ  Pipes— The 4 

Changing  Decapitation. 8 

Colored  Sands  of  Enchantment  .. 14 

Chameleon  Handkerchiefs— The 23 

Crystal  Chest  of  the  Geni— The  26 

Casket  Cremation— The  .....' 35 

Cartomanic  Floral  Charm. 48 

Creation  of  Earth,  Air,  Fire  and  Water— The 54 

Cagliostro's  Spirit  Slate. 73 

Crystal  Coffin— The  . 79 

Clairvoyant  Card  Trick. 83 

D' Alvini's  Album  Trick.  4 

Diamond  Mystery— The  - 7 

Dice  House— The  9 

Devil's  Rod  or  Stick  of  Enchantment 10 

Dissolving  Half-Dollars— The 61 

Disappearing  Stack  of  Coins.  62 

Disappearing  Handkerchief — The 9 

Extinguished  Cigar— The 3 

Egyptian  Cremation— The 6 


SHAW'S  MAGICAL  INSTRUCTOR.  103 

Eclipse  Coin,  Card  and  Candle  Trick 15 

Excelsior  Second  Sight. 37 

Edgar  Poe's  Raven  in  the  Garland  of  Thebes 45 

Electrical  Coin  Transportation. ; 62 

Extraordinary  Flight  of  Coins. 71 

Electrical  Coin  Shuffle.  , 92 

Flight  Through  Crystals— The  ..'.. 9 

Floral  Globe  or  Total  Eclipse— The       51 

Glass  Bowl  and  Golden  Stand— The 26 

Golden  flash  of  Light— The  59 

Iron  Cage  Test— The .80 

Improved  Torn  Card  Trick  11 

India's  Wand  of  Wonders.  42 

Kellar's  New  Karmos.  . . . . 21 

Lightning  Slate  and  Blackboard  Test 5 

La  Cremation. .77 

Multiplying  and  Disappearing  Coins 94 

Mahatma  Miracles— The .88 

Marvelous  Vanishing  and  Re-appearing  Coin 71 

Mysterious  Coin.  70 

Mystic  Percolator— The  1 

Mephisto's  Glass  Cylinders.  20 

Mystery  of  L'Hassa— The  23 

Mysterious  Transmission  of  Thought 28 

Magic  Decanter— The  41 

Magnetic  Second  Sight.  « .  .42 

Mysterious  Hat  and  Balls. 44 

Marvelous  Writing  Hand— The  48 

Mystic  Sour  Drops— The  • 50 

Magic  Wine  Tassels— The  51 

Magic  Squeezes— The  54 

Mystic  Peaches— The  56 

Mystic  Card— The  75 

New  Spirit  Pictures.  , 21 

New  Programme,  Ring  and  Envelope  Trick 17 

National  Ball  Transformation— The      1 

New  Spirit  Ghost  Seance. 2 

New  Hat  Fake.  7 

New  Tape  Trick. 12 

Newest  Wine  and  Water  Trick.  .....  t 13 

New  Sensational  Card  Trick.  4 14 


104  SHAW'S  MAGICAL  INSTRUCTOR  * 

New  Method  of  Getting  Flowers  into  Cone .18 

New  Umbrella  and  Handkerchief  Trick 27 

New  Coffee,  Sugar  and  Milk  Trick 45 

New  Glass  Card  Frame.  52 

Ne-Plus-Ultra  Coin  Trick— The  59 

New  Dancing  Cards.  82 

Ornithological  Labyrinth.  19 

Oriental  Barrel  Mystery—The  84 

Our  Spelling  Bee.  46 

Omega  Illusion.  57 

"Oh"  Illusion.  95 

Phantom  Knots— The  91 

Photographie  Mysterieuse. 76 

Spirit  Answer— The  100 

Spirit  Bell  on  Glass  Top  Table.  2 

Spiritual  King  Test— The  3 

Spirit  Scribe— The 7 

Shrine  of  Koomra  Sami.  25 

Spirit  Slate  Mystery.  86 

Spirit  Pull  Test.  88 

Spirit  Circle  Under  Test  Conditions      92 

The  Queen  of  Knives.  40 

The  Traveling  Flame.  43 

The  Vanishing  Bride.  48 

The  Very  Latest  Aerial  Treasury ,72 

Tussah  Illusion.  57 

Water  Into  Ice.  1 

Wonderful  Lager  Beer  Glass  and  Paper  Cone 9 

Water  on  The  Brain.  36 

Wonder  Kraut.  ^ 

Wonderful  Turn  over  with  Coins.  61 


